Category Archives: Corsets

Skirt, Blouse, and Hairstyle, December 1907

Butterick skirt 1624 and blouse-waist 1659 showing several possible versions. Delineator, December 1907 p. 885.

Just a single detailed illustration like this one gives a wealth of information about this blouse and skirt, with back and front views of the clothes and one of the hairstyles. I will break it down into close-ups of the details.

Starting with the skirt:

Front and back views of Butterick skirt 1624, from December 1907. The back view shows it without the band of lace trim.

This is a “circular” skirt, with one seam in front and one in back.

The skirt develops folds (or wrinkles) in front.

I think the folds of fabric in front are a result of the sway-backed posture she is forced into by her corset:

From an ad for a G.D. Corset, Delineator, October 1907.

In the three views of blouse-waist 1659, it is trimmed three different ways. However, the low-necked evening version is not illustrated.

Three views of Butterick 1659. December 1907.

The back view, left, shows ribbon trim on the collar, echoing the geometric pattern on the lace; the back view shows a striped lace or fabric on the foundation lining and scalloped lace trim.

A 1910 French lining similar to the one used under Blouse 1659.

The pattern description says the high neckline and sleeves are attached to the under lining, not to the parts of the blouse we see:

Notice that the armholes are not visibly connected to the sleeves. The sleeves are attached to the under-lining.

Another view of the same blouse, made in a dark color with a sheer, simple fabric filling the neckline. “The short puff sleeves are inserted in the foundation, the large armhole of the blouse being furnished with lace.”

The illustration also gives us back and front views of one (enormous) hairstyle…

… the one for evening is decorated with a roses and a plume on top.

These illustrations were obviously influenced by the work of Charles Dana Gibson. Gibson maintained that he was merely reproducing the women he saw on the streets of America.

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Time Traveling Again

This week I’ve been attending the San Francisco Silent Film Festival (seeing movies from the 1920s in a theater that opened in 1922!) and also visiting the Bound Periodicals collection at SF Main Library. Their earliest copies of Butterick’s Delineator magazine are July to December 1907.

One pleasant surprise: a 1907 monthly feature illustrated by fashion photos instead of drawings!

Shirt-waists and blouses (called waists) photographed for Delineator, July 1907. The article is from a series called “Dressing on Dimes.”

I’m also “visiting 1912” at the moment.

Butterick patterns from Delineator, July 1912, p. 23.

I’m trying to prioritize photographing color images, since color is what was lost when so many magazines were microfilmed (and then discarded by libraries) years ago. Even issues that have been scanned by Google and made available online lose a lot of information, because these old magazines used very small type with a serif font on very large pages; automated scanners have to make a choice between legible text, legible drawings, and accurate color illustrations — not always very successfully. [Link added 5/6/19] (Nevertheless, Hathi Trust makes many issues available that would otherwise be very rare and hard to find.) When I visit the bound copies of Delineator, I usually take 3 or 4 photos of each fashion page: whole page, top half, bottom half, and closeups of images. That allows a different camera exposure for text and images, but it’s not a fast process…. Even photographing a small ad requires an “establishing shot” with the page number on it, then a close-up.

I’m finding wonderful color illustrations…

Butterick pattern illustration, Delineator, April 1907, p. 27.

Butterick illustration for waist [bodice] 5188 and [separate] skirt 5189. Delineator, February 1912, p. 105.

… accompanied by useful line drawings…

Line drawings like these are easier to “figure out” for reproduction than full color paintings. Butterick waist 5514 with skirt 5515, showing front and back views. (Hard to realize this is not a dress! Bodice and skirt do not necessarily open in the same place.)  Delineator, July 1912, p. 24.

…and I photograph those (to me) irresistible ads for corsets, bust improvers, hip padding (!) and other products for women.

W.B. Corsets ad for the Reduso corset. Delineator, September, 1907.

Just looking at that corset makes my back ache! It seems that advertisers always think women are either too fat or too thin, and in need of “improvement:”

Ad for H & H Pneumatic Bust Forms, Delineator, July 1907, page 147.

Pneumatic seems to mean “inflated”– “For bathers at the sea-shore they are indispensable; … acts as a buoy to the bather and makes swimming easy.” [Unless you want to swim face-down?

Hats are always tempting me to photograph them:

Butterick waist 5312 with skirt 5313 and a hat that would keep people at arm’s length…. Delineator, April 1912.

Hat featured in fashion article for December 1907. I think it resembles the foliage from a Christmas Cactus….

Don’t sit behind her at the movies.

I do try not to photograph everything that captures my attention, but limiting myself to color images is not easy.

A suit photographed for the “Dress for Dimes” series. Delineator, October 1907.

Being able to see clothing, accurately dated, without the distorted proportions of fashion illustrations is a treat. Delineator‘s fashion photos from the 1920s were not as good as the ones from 1907.

On the other hand, this story illustration is lovely, and I’m surprised by that low-backed gown at left.

Painting illustrating fiction in Delineator, August 1912. Men in white tie: maximum formality.

Edited  5/7/19: A closer look at that low-backed blue-green evening dress hints that a layer of whitish lace was visible above the deep V.

Detail; I think / expect that sheer white or ecru lace covers her camisole and is visible above the deep V back. I also see ermine tails on the white-haired lady.

After seeing that [illustration], I’m thinking maybe 1912 would be a good year for My Fair Lady / Pygmalion.

Ladies’ coat and jacket outfits, Delineator, April 1912, p. 297.

As usual, it’s astonishing to see how rapidly fashions changed. Just two years later:

Butterick patterns from May 1914. The slender lines of 1912 are gone.

Once I have five or six hundred photos downloaded, I have to label them all (year, month, page, pattern numbers,) which takes quite a while. Of course I want to post as many as possible right away, but an orderly process is absolutely necessary to keep images and their information together. So I may be taking a week or so off from posting blogs!

Back soon!

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Butterick Wedding Dress, May 1910

Butterick 3784 illustrated as a wedding gown. Delineator, May 1910. Page 384.

The editors of Butterick’s Delineator magazine featured this pattern on at least three pages; a very illustration shows it not being used as a wedding dress:

The woman seated at right is wearing Butterick “princess dress” 3784, made with black lace and a burnt-orange fabric [described as tan.]  Delineator, May 1910. Page 385.

Butterick 3784 is a good example of the “princess” dresses that were so popular in 1910. When you consider how many Butterick illustrations from this era actually showed a separate, matching waist [i.e., bodice / blouse] and skirt (rather than a dress,) the one-piece princess dress that continued to the hem without any seam at the waist was distinctive. (A bodice/blouse that continued past the waist was often called “semi-princess,” like pattern 3843 at the left of the color illustration.)

Butterick 3784 is shaped by the vertical seams from bodice to hem which are still described as “princess seams.” (The princess-seamed dresses below are from the 1920s:)

But the topic today is princess dress 3784, in its bridal and evening versions:

Butterick princess-seamed bridal gown 3784, shown with a long train. Delineator, May 1910, page 384.

Butterick 3784 illustrated as part of a bridal trousseau article, May 1910, page 441. Here, it has a shorter train.

The black and “tan” version of 3784 is shown with a minimal (or no) train when worn as a day or evening dress. Page 385.

Below: Front and back views of 3784 show (left) “medium sweep or round train,” (center) a long or medium train, plus a very different bodice variation, with V-neck and decorative buttons. In this illustration, the sleeves reach just below the elbows.

Front and back views of 3784, showing an extreme train (90 inches from the waist) and a very different bodice variation with V-neck and decorative buttons. May 1910, page 384.

It could be made with long or short sleeves, with a high neck, a round neck or a square neck, and with or without the “bolero” of white or black lace.

Pattern description for Butterick bridal dress, evening dress, or day dress 3784, Delineator, May 1910.

The longer sleeves and high neck in the bridal version are probably part of an under lining, sometimes called a guimpe, which could be worn under other blouses. Butterick blouse 3647 illustrates how this works:

Butterick waist (blouse) 3647 has a scoop neck and open sleeves which end above the elbow. It is worn over a body-lining with long sleeves and a high collar. March 1910.

Here is the bridal version of 3784 with covered throat, covered arms, and a medium train (72 0r 63 inches from the waist.)

Butterick 3784 illustrated as part of a bridal trousseau article, May 1910, page 441.

This is text describing Butterick 3784:

Pattern descriptions for Butterick bridal dress or day dress 3784, Delineator, May 1910. The writer is Eleanor Chalmers.

A very practical (or economy-minded) bride might cut the train off of her wedding dress (“It should be made as simply as possible and in such a way that it may be worn with perfect propriety for other occasions which may come up after the wedding….”) and have the gown dyed, so that she could wear it for afternoon or evening — without the under-lining sleeves and high collar.

P.S. A gown like this would have boning along the torso seams, but it wouldn’t look historically accurate without one of these under it:

Kabo corset ad, detail, Delineator, March 19910 p. 262.

Ad for Kabo corsets, Delineator, March 1910, page 262.

 

 

 

 

 

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Ferris Corsets for Women and Girls, 1914, 1917 and 1910

Mother and daughter both wear Ferris Corsets in this ad from March, 1914. Delineator, page 65.

The Ferris Corset Waist was often stiffened by channels of cording, rather than exclusively by steel bones. In its day, it was a sort of “reform” or “good sense” garment, more flexible and less rigid than the usual boned corset. Nevertheless, it’s dismaying to read:

“Made in more than 100 styles to properly fit all ages, infants to adults.” Ad for the Ferris Waist; Delineator, March 1914.

The full ad for Ferris Waists, March 1914.

The girls at the bottom seem to be teens. The one at left appears to be leaning forward while using some kind of exercise equipment.

The tiny waist at left seems more 1910 than 1914. It may have been a “sport” corset.

The straps help to “teach” correct posture — and hold up your stockings. Even young girls needed something to hold their stockings up… especially when they were too young to have a waist and hips.

Text of Ferris ad, March 1914. “Ferris Waists take the place of corsets.”

Two girls wear Ferris waists in this ad from April 1917.

Ferris Good Sense Corset Waists were “lightly boned and  beautifully corded” to naturally develop the growing body into a more perfect figure in later years.” Ad from April 1917. Delineator.

Ad from May, 1914, featuring a maternity corset. Maternity corsets were sold by several companies, including Lane Bryant [click here to read more about Lane Bryant;]  Sears, Roebuck; and Berthe May.

Ferris Maternity Corset, May 1914. Delineator, page 73. [Why is she wearing her slip under her corset? Because the upper thigh was not usually shown in ads even in the 1950’s, which always led me to wonder how those stocking suspenders reached the stocking tops.]

A rival to the Ferris maternity corset was this more traditional boned corset from Berthe May. January 1914, Delineator. It “allows one to dress as usual and preserve a normal appearance.”

In this ad from 1910, Ferris assured buyers that their products were made “under the cleanest conditions.”

Ferris assured women that the Ferris Good Sense corset waist was not made by exploiting women workers in sweatshop conditions or by piecework in tenements. Ferris ad, 1910.

However, this Ferris maternity corset from 1910 does show fashionable constriction of the waist:

A Ferris Good Sense maternity corset/waist from 1910 clearly was intended to maintain the then-fashionable hourglass figure as long as possible.

Ad for Ferris Waists from Delineator, May, 1910.

Ferris ad, May 1910.

“Good sense” or not, corset-wearing started early:

Ferris Good Sense Corsets for girls, starting at age 6 months. If it buttoned up the back, a girl couldn’t get out of it without help.

Ferris Good Sense corsets for girls and teens, 7 to 15 years old. “[…Pleated] busts soft as silk. Specially adapted to growing girls 11 to 15 of slender form.”

Ferris waist for girls 12 to 17. May 1910 ad.

Those hose supporters (stocking suspenders) are really long!

An adult corset from 1910 sold by waist size: 19 to 30 inches. Ferris ad, Delineator, May 1910.

You can read more about the Ferris Brothers here.

 

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What’s Going on Here? Tops and Skirts from 1914

Almost the full page image of four outfits from Delineator, April 1914. Four outfits: eight patterns.

This is a follow-up to a post that showed this image without any explanation. In 1914, Delineator was a large format magazine, much bigger than the average computer screen (or modern magazine) so I will have to chop up that image to show details of these outfits. The opposite page gave more information about each one, so I also have line drawings and alternate views to share.

Important fact: Not one of these outfits is a dress. They are all separate tops and skirts.

Butterick pattern numbers for the brown and blue-gray outfits at the top right of the page.

It’s not always easy to figure out whether you’re looking at a dress, a skirt and “waist” [i.e., blouse,] or a “coat” and skirt in these fashions from 1914. Luckily, the old Delineator supplied plenty of alternate views.

Sometimes an alternate view  looks so different from the major illustration that only the pattern number shows that they are variations of the same garment. I’ll start by dissecting the gold-colored suit at top left.

Butterick coat 6790 with skirt 6806. Delineator, April 1914.

Coat 6790 and skirt 6806 look like a suit with a long jacket — that’s an illusion.

First surprise: the jacket only reaches the waist.

Coat 6790 with an alternate view, the lapel buttoned.

Front and back views of coat/jacket 6790.

The skirt includes a long tunic top.

Skirt 6808 with two alternate views.  The skirt, drawn in plaid with a bias cut top and two rows of buttons, looks very different.

Butterick waist 6791 with skirt 6792. April 1914, Delineator.

The height of these hats makes it hard to do justice to the entire outfit at once.

Back and front views of waist 6791. In the color version, the waist is two-toned and has a blue and white collar and “vest.”

Alternate views of waist 6791. This view, made in sheer or print fabric, has a high neckline instead of the V-neck shown in the color illustration.

Skirt 6792 has two tiers over the skirt itself.

Skirt 6792 could also be made in a sporty plaid, with more buttons, too. I wonder: were the tunics always cut on the bias, being based on a circle segment? Was the back always placed on the straight grain?

These skirts must have been very warm, if every layer was lined. The drawing of the waistline on all these skirts shows how the corset of 1914 distorted a woman’s body; the boned front of the corset forced her abdominal area into a straight line, pushing the hips and pelvis back — which caused a sway-backed effect. The waistline of the skirt is therefore higher in the back than in the front — one reason why vintage blouses from the WW I era don’t stay tucked into your skirt in back if you aren’t wearing a 1914 corset!

Ad for the Nu-Bone corset, Delineator, March 1914. You can see how the straight-front corset forces the hips and pelvis back.

This Nu-Life corset is higher in back than in front — just like the skirts’ waistbands.

Waist 6799 with skirt 6800.

Incidentally, George Bernard Shaw’s play Pygmalion — which is the basis for My Fair Lady — opened in London in  1914. For the benefit of costumers, I’m sharing a lot of construction information.

A closer view of waist 6799. It looks very short-waisted.

Like the skirts, the waistline of the “waist” is higher in back than in front.

This skirt is elaborately draped.

Front and back views of skirt 6800.

Skirt 6800 later appeared in a feature about bridal costumes. It is very formal.  [Here, it looks like a cape, but it is a skirt.] The view on the left is the back view; on the right is the front view.

Waist 6823 with skirt 6824. Wide hips were obviously very much in style in 1914 — in spite of those corsets.

Three views of waist 6823. Again, the plaid version looks much less formal. It could be worn with a plain skirt.

Skirt 6824 is elaborately draped in a “pannier effect.” The color image gives the back view.

A skirt like this required a shorter interior lining made of sturdy fabric, which supported the weight of the “bustle.”

Description of the blue-gray waist 6823 and skirt 6824. Delineator, April 1914. A “short four-piece foundation skirt” eliminated the need for a waistband.

The surplice-style waist/blouse was also made with a “French lining” to support and control the fullness. I’ll write about French linings some other day.

Here are written descriptions of the other three outfits (I’ll refer to them by color.)

Gold-colored Butterick coat 6790 with skirt 6806. Delineator, April 1914.

Description for the gold-colored “suit” made by combining coat 6790 with skirt 6806.

This skirt also had a “short four piece foundation skirt.”

In addition to the color illustration, skirt 6806 was shown in a plaid version with a different coat on page 24.

Butterick wine-colored waist 6791 with skirt 6792. April 1914, Delineator.

Description of the wine-colored outfit made from waist 6791 and skirt 6792. “The double tunic and one-piece lower part area attached to a short three-piece foundation skirt in regulation waistline.” [As you can see, these skirts have no obvious waistband.]

Waist 6799 with skirt 6800 apparently in brown silk or taffeta.

Description of brown waist 6799 with skirt 6800. Delineator, April 1914. “A short three-piece foundation skirt is given in regulation waistline.”

I don’t think “regulation” had any legal status — it was just the usual no-visible-waistband technique for making skirts.

I can’t resist ending with closer views of the hats:

She’s wearing a wristwatch.

Whew! long post….

 

 

 

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Snapshots from a Time Traveler

Ta-dah! The big reveal from February 1920. Delineator.

I’m still having fun in the library. This week I traveled to 1914 and 1920, and I couldn’t wait to share a few snapshots.

High life: wearing Butterick patterns in February 1914. Delineator.

“Does this dress make my hips look big enough?” Delineator, June 1920.

Of course, I’m still labeling photos from 1910, too.

A Big Hat from January, 1910. Delineator.

Another Big Hat:

“No, I’m not a fortune teller: why do you ask?” From Delineator, February 1910.

However, I predict your bust will be improved….

Nature’s Rival: You can have a Perfect Bust thanks to the Air-Form Corset Waist. Ad from Delineator, February 1910. [Inflated with what?]

From Big Hats to High Hats:

It can’t have been easy getting out of a cab in one of these — in the hat or the skirt. Delineator, April 1914.

A High Hat from May 1914. Delineator.

“See you real soon….” With lots more images from the colorful past.

Seriously, I’m trying to prioritize color images, because there is simply not enough time to photograph everything that interests me in these old magazines. But it’s not easy!

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Underneath Those Twenties’ Fashions

Fashions for May, 1924. Undergarments flattened the bust and hips and eliminated the waist. Delineator, May 1924, p. 27.

[This is another post in a series offering links to posts some followers may have missed, while I take time to visit the library and collect more photos.]

Some of the most exciting discoveries I made when I started reading old magazines from the 1920’s had to do with underwear. In addition to fashion advice about what to wear to achieve that “boyish” figure, I found dozens of advertisements — a veritable window into the past. In one article I read,

“To be smart this season one must be more than slim. The figure must defy nature and be as flat as the proverbial flounder, as straight as a lead pencil, and boneless and spineless as a string-bean. One must be straight like a boy and narrow like a lady in a Japanese print.” – Delineator magazine, February 1924.

I happened to read a 1925 article by Evelyn Dodge about the new, boneless corselets: “Not all women need corsets. Women with young, slender figures find that the corselet, which is a combination brassière and hip-confiner, is sufficient. It is unboned and is therefore as soft and flexible as the natural figure.”  I was delighted to find this one illustrated in an ad:

https://witness2fashion.files.wordpress.com/2014/07/1925-may-treo-corset-corselet-p-82-ad-girdle.jpg

Treo “Brassiere Girdle — a combination garment” ad from Delineator, May 1925. The Treo brand was sold through Sears catalogs, as well as in stores.

You can read more about it in “Underpinning the Twenties: Corsets and Corselets.”  Click here.

These corselets reshape a woman to look like a tube (or maybe a sausage?) https://witness2fashion.files.wordpress.com/2014/07/1925-corselette-pattern-1925-bien-jolie-corsette.jpg

Another thing that struck me while reading so many 1920’s ads was that the boyish silhouette meant that women aspired to be flat in back and flat in front. This was actually a feature of the “tubular Twenties,” not the late nineteen twenties.

Women shaped like test tubes, probably thanks to their corselets. A blouse (left) and a tunic blouse, right, from the “tubular twenties.” Delineator, 1924. I used to wonder how a thin young woman (right) could possibly have a bust that low! [It was mashed by her undergarment.]

If you didn’t want to wear a corselet, you could opt for a separate girdle, worn with or without a bandeau to flatten your breasts. Corsets and girdles of the 1920s were designed to flatten your posterior: “Underpinning  Twenties Fashions: Girdles and Corsets.” Click here to read.

If you are curious about “bust flatteners” or “bound breasts” in the nineteen twenties,  click here for “Underpinning the Twenties: Brassieres, Bandeaux, and Bust Flatteners.”  It has lots of illustrations.

If  you are curious about what 20th century women wore before the modern brassiere, these two posts give  a quick review of brassieres, and their transition from the 1910’s to the 1920’s.

https://witness2fashion.files.wordpress.com/2016/04/sears-1917-spring-catalog-brassieres-with-boning500.jpg

The fact that women have two, separate breasts was hidden by these “monobosom” brassieres. WW I Era. Older women probably continued to wear these in the 1920s.

To read Part 1, “Uplift Changes Brassieres: 1917 to 1929, Part 1” click here.

For Part 2, “Uplift Changes Brassieres: Late 1920s Brassieres,” click here.

The monobosom of the early 1900s slowly gave way to the more natural look — with support — of the 1930s:

From a Maiden Form brassiere ad, Womans’ Home Companion, 1936. “For that all-important line of separation.”

The Book, “Uplift: The Bra in America,” by Jane Farrell-Beck and Colleen Gau covers other decades in addition to the Twenties.  Learn more about this fascinating book here.

Of course, not all women were “bound” to be boyish. Click here to read “Not All Flappers Wanted to Be Flat in the 1920s.”

Between the dress and the flattening girdle, corset, bandeau, or corselet, — or between one’s skin and the dress — were sometimes very delectable silk or rayon undergarments.

Trousseau lingerie from Paris, the house of Doeuillet- Doucet. Illustrated for Delineator, June 1929.

There were also some very awkward looking combination garments. See: Envelope Chemises, Step-ins and Other Lingerie. That post elicited wonderful comments about vocabulary and links for further research.

My mother models her one piece camiknickers and her rolled stockings. About 1918.

Butterick “cami-knickers” 5124 with “envelope chemise” 5059. Delineator, April 1924.

Women also wore some not very sexy drawers or knickers….

Right, knickers for 1924. You can often get a glimpse of these in silent movies — especially in comedies, when a woman does a pratfall or climbs into a vehicle. These knickers have elastic at the waist and above the knees — for undergarments, the words “knickers,””bloomers,” and “drawers” were sometimes used interchangeably.

See “Theda Bara’s Bloomers” for a distinctly un-sexy pair — on Cleopatra!

 

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