Category Archives: Nightclothes and Robes

Hostess Pajamas & College Pajamas, 1930

These pajamas, Butterick 3554 and 3551, can be “beach pajamas,” too. I’ve probably written about them before, but I just found the pattern for No. 3554 at the Commercial Pattern Archive. Besides, I do love pajamas!

Hostess pajamas (left) and “college pajamas,”(right) 1930. Both Butterick patterns appeared on page 82 of Delineator magazine, December 1930.

The hostess pajamas are made with a yoke and have very full legs.

Hostess pajamas 3554 are a three piece set.

The pattern envelope (at CoPA) shows options for sleeves on the bolero and a sleeveless blouse.

Information from the pattern envelope. CoPA.

That’s quite a lengthy list of possible fabrics, including linen, pique, and [silk] shantung for beach wear, and light weight velvets or metallic fabrics for “lounging.” I do wish yardage estimates were included, because these trousers need a lot of fabric:

The trousers for Butterick 3554 have very full legs, attached to a close-fitting yoke. Pattern pieces for “inside bands” explain how the waist was finished.

The yoke on 3554 is close-fitting and buttons at the side.

Here, the luxurious hostess pajamas have decorative tassels on the V-neck. The pattrn illustration shows a bow of bias matching the sleeve and neck binding.

Delineator magazine description of Butterick 3554. A 44″ bust meant 47.5″ hips, as a rule….

“College pajamas” as the magazine referred to Butterick 3551, did not have such voluminous trousers.

“College pajamas” 3551 have a longer robe/jacket and less extravagant (more practical) wide-legged trousers.

For beach wear or late-night philosophical discussions, 3551 would be just the thing. For decorating your dorm room, Butterick provided this 30 inch “sailor trou” doll pattern (on the same page as the other pajamas.)

Delineator, December 1930, page 82.

It’s not too early to start planning Christmas gifts — or too late for “back to college” pajamas. More inspiration: Molyneux offered these velvet hostess pajamas with sheer jacket in 1927. Why don’t I dress like this while binge-watching? (Well, mine would have to be washable, but this sleeveless PJ with sheer above-the-knee top isn’t a bad idea!)

A sketch of Molyneux’ luxurious velvet and chiffon pajamas for entertaining at home. Delineator, November 1927. In black chiffon and vermillion [red-orange] velvet, with [vermillion?] poppies and green leaf embroidery. The tight ankles are unusual.

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Filed under 1920s-1930s, Musings, Nightclothes and Robes, Sportswear, Vintage Couture Designs, Women in Trousers

Less Familiar Designers of the 1920s, Number 1: Jenny (Part 1)

Evening dress by Jenny (Jeanne Adele Bernard Sacerdote) as sketched for Delineator, January 1926.

Some leading designers of the nineteen twenties have names that still sell fashion. Chanel comes to mind. Others were famous before and after the Twenties, like the House of Worth. Having a successful perfume brand helps: “Joy,” by Patou is still available. This is the first in a series about once-famous 1920s designers who are no longer well known.

Jenny (born Jeanne Adele Bernard, later Jenny Sacerdote) was ranked with those big names in the Twenties, but is not as well known today. I’ll be sharing a few of her designs, with links to help you find others.

These are merely a few of the designs by Jenny that were sketched for Delineator, *** and I do not have photos from every year between 1917 and 1930. Her ability to adjust to changes in fashion is admirable.  Born in 1868, she became famous in her fifties, showing 300 pieces in her collection of 1918.

Two sketches of couture by Jenny (Jenny Adele Bernard Sacerdote ) shows her ability to move with the times. Delineator, 1917 and 1927.

Left, a gown with a “tonneau” or “barrel” skirt — a fashion innovation from 1917. Right, a bare, narrow, fringed and beaded evening gown from 1927.

Jenny in 1917

Jenny was already being copied in 1915. The V&A collection has several color sketches of Jenny designs. London dressmaker Elizabeth Handley Seymour sketched hundreds of French couture gowns and coats which she was prepared to duplicate for her customers. She included this coat by Jenny, this evening gown, and this elegant afternoon or evening gown.

Jenny was such a “star” in 1917 that even her underwear collections were featured in “Reports from Paris.” She’s notable for her use of bright colors and print fabrics (!) in her lingerie:

This frothy undergarment was “sulphur-yellow ‘gaze’ trimmed with lace.” Delineator, August 1917.

On Jenny’s pink satin knickers, cream yellow lace is outlined with little roses or ‘cocardes’ [sic] of satin ribbon:

Doucet was a very well-established design house; Jenny is treated as his equal. Delineator, August 1917. Note the ribbon straps.

Print fabric lingerie by Jenny, 1917. Sketched for Delineator.

Jenny used “Flowered muslin in a quite indescribable design of white flowers outlined with pink on a blue background” for her pleated chemise, 1917. I remember how new and exciting print underwear was in the 1960s!

This pink chiffon Jenny dressing gown would have been called a “combing jacket” in an earlier era. (See “Peignoir.”)

A dressing gown by Jenny in Delineator, July 1917: “ruched pink chiffon over a pink satin skirt.”

Other Jenny designs from 1917 show that she had a sense of humor. She named this dress, amply trimmed with fur, “My hairy one.”

Jenny called this model “Mon Poilu” –“my hairy one.” Sketched for Delineator, December 1917.

However, her velvet skating dress seems a little impractical:

Jenny described this as a skating dress. Delineator sketch, December 1917. The tassels would be flying!

The coat below is actually sleeveless, worn over a matching gray silk dress. The geometric trim is stitching in green thread.

Short sleeveless coat over matching gray silk dress, green stitching. Jenny, sketched for Delineator, September 1917.

In June, 1917, Delineator showed a page full of couture designs which featured the new “barrel” silhouette. This was one from Jenny. Page 56.

Delineator claimed the barrel silhouette was chiefly the influence of Jeanne Paquin:

The barrel or tonneau skirt, sketched by Paquin’s own artist. Delineator, March 1917, p 56.

They look better to me when the model is sitting down.

Jenny created this dress for 1917. Delineator, March, p. 56. “Blue serge dress with eight box plaits over each shoulder. The square line at the neck appears in many of the new dresses.”

Left, a design by Jenny — in black satin under white chiffon embroidered with flowers — appears next to a design from the House of Worth. Delineator, March 1917.

I’m sure you could find many more Jenny designs: try searching for Delineator at Hathi Trust; select Journal, then choose a year, and search within the volumes you find. 1922 for example…

*** Note:  Butterick Publishing Company had offices in Paris, giving their pattern makers a chance to follow the very latest trends, which were reported on several times a year, often illustrated by Soulie. All the illustrations I’ll use in this “Less Familiar Designers” series come from Delineator‘s coverage. Caveat:  Pattern companies could sometimes buy couture items and copy them, but designers were not happy to be copied without any payment, so sketch artists attending fashion shows had to be quick and furtive, and sometimes had to work from memory. Read Fashion is Spinach, by Elizabeth Hawes for a sketcher’s real inside story.

Next: Jenny in the 1920s.

Tennis dress by Jenny, sketched for Delineator by Leslie Saalburg, February 1927.

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Filed under 1900s to 1920s, 1920s, evening and afternoon clothes, lingerie, Nightclothes and Robes, Panties knickers bloomers drawers step-ins, Resources for Costumers, Slips and Petticoats, Underthings, Underthings, Hosiery, Corsets, etc, Vintage Couture Designs, World War I

Bolero Jackets 1930-1931, Part 1

This nearly-timeless jacket came with many pattern variations.

The 1920’s bolero was not always above the waist in length, [click here to see several examples] and this pattern is from the early Thirties.

Alternate views of Butterick bolero pattern 3224. Fronts could be curved or squared (see dotted lines,) open or closed with a bow. Delineator, May 1930.

Delineator, May, 1930, p. 113.

I was initially struck by how modern this “little jacket” looks. If I found it in a thrift store, I would have guessed it was much more recent than 1930. I can imagine it worn with skinny jeans or a knit dress.

Butterick’s Delineator magazine showed many bolero jackets during the transition from low-waisted Twenties’ to natural-waisted Thirties’ dresses. Oddly, the bolero was recommended as a way to camouflage the natural waist for women who felt insecure about showing their figures.

Butterick 3413, September 1930.  “The Reason for Boleros” was that they distracted from the new waist line.

“Designed for [ages] 4 to 18 and for 32 to 44 [inch bust.]” Frankly, any woman whose waist looked like that illustration was probably not too worried about it. However, the design does avoid having a belt at all.

“Boleros and Blousing Are a Great Help.” Boleros were recommended for women self-conscious about the new, defined waist. Delineator, September 1930, p. 104.

Butterick 3409, Delineator, Sept. 1930, p. 105. “The shaped bolero makes it an easy frock to wear….”

Butterick 3435 has a false bolero effect, with the bolero in the back only.

Butterick 3174 (at left) has a bolero over a sleeveless dress, while 3177 (at right) has a matching jacket. Delineator, April 1930.

“The bolero makes the normal waistkine possible for any figure, for it conceals that difficult line at the back. [I didn’t expect that reason!] This bolero is detachable….”

Left, evening dress 3020 has a sheer bolero over a simple princess-line dress; far right, 3074 has a strip of fabric pretending to be a bolero. Delineator, February, 1930.

“Peplums and Boleros Give Youthful Lines.” Butterick 3020 has a “tied, sleeveless bolero” that falls far below the waist in back. Butterick 3074’s “corsage flares partially concealing the narrow belt in front make the high waist-line  more wearable.”

Another “bolero effect:” Butterick 3529 is recommended for a sewing beginner! “The bolero effect is obtained by a stitched-on band” decorating an otherwise simple dress.

Another “not-really-a-bolero-jacket” is part of Butterick dress 3391; “Bolero fronts, bloused back.” Delineator, September 1930, p. 31.

The dress below, with a short bolero, was featured in the same issue of Delineator as the longer, ruffled bolero at the top of this blog post.

Butterick 3006 appears to have a separate, short bolero in front, which may or may not dip below the (new, high) waistline in back. Delineator, January 1930, page 29. The sleeves of the bolero “flare in three-quarter length over those of the frock itself.”

The bolero — real or suggested –remained in fashion through 1931 — more about that later.

MunsingWear pajama ad, Delineator, 1931. The One Piece Bolero Pajama.

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Filed under 1920s-1930s, 1930s, Accessory Patterns, Coats, Nightclothes and Robes

Remembering 11/11/18: Red Cross Patterns

The appalling carnage of World War I is often given in statistics; these Red Cross patterns and instructions for volunteers — making hospital gowns, bandages and wound dressings, surgical masks and gowns, etc. — also remind us (and those Red Cross volunteers) of the suffering it caused.

Women’s magazines like Delineator and Ladies’ Home Journal published government information as well as encouraging volunteer work. The patterns above are for operating room personnel.

A surgical gown for doctors and two kinds of pajamas for hospital patients. Delineator, Nov. 1917.Red Cross patterns were available for sewing groups or individual volunteer stitchers.

Operating room gear — like surgical gowns and sterile shoe covers — could be made using regulation Red Cross patterns. Pajamas for patients were also in demand. The “taped” pajama below opens so the injured soldier need not be moved for his wounds to be inspected and dressed.

Red Cross regulation “taped pajamas” for the wounded and socks for injured feet; Ladies Home Journal, Dec. 1917.

Making these garments must have reminded civilians that soldiers were receiving terrible injuries.

Women and children were encouraged to knit Red Cross regulation sweaters, socks, and even “helmets” that kept heads and faces warm.

“Knit Your Bit for the Navy” article, Delineator, August 1917. “Every man in the fleet must be kept warm if we are to win — will you help?”

Delineator, November 1917.

Red Cross volunteers also made:

Not just knitting: List from Ladies’ Home Journal, July 1917. The same information ran in several women’s magazines, but each magazine formatted it differently.

Many women imagined themselves doing “glamorous” war work, like nursing or ambulance driving. (They had no idea of the horror those women faced daily.)

However, “In war more men die from exposure and illness than from wounds. Every hour that you waste, you are throwing away the life of one of our soldiers.” “Don’t say you are too busy to knit — it isn’t true.”

Items to Knit for the Red Cross, LHJ, October 1917.

Initially, there was such an outpouring of knit garments — many totally unsuitable for the Front — that the Red Cross used women’s magazines to explain why regulation colors and instructions had to be imposed.

A poorly knitted or fitted sock could have a serious impact on a soldier. Blisters and foot infections sent many to the hospital. LHJ, Oct. 1917.

The front and back of a knitted “helmet.” LHJ, Oct. 1917.

More disturbing knitting supplied the operating room:

Knitted Wipe for Surgical Use, LHJ, July 1917.

Some volunteers chafed at the Red Cross rules, so regulations had to be explained and justified — repeatedly.

LHJ, October 1917. (Laparotomy is an abdominal surgery procedure.) Sterile dressings needed to be made in supervised rooms, not at home.

LHJ, October 1917. Even a loose thread could cause infection.

Children were also encouraged to knit for soldiers and sailors:

Article recruiting members of the Junior Red Cross, Delineator, November 1917. Even beginning knitters could manage to make mufflers and wristlets.

Junior Red Cross war work suggestions. Delineator, Dec. 1917. “Uncle Sam needs a million sweaters NOW. There are twenty-two million of you [children.] If you work, every soldier under the Stars and Stripes will have his sweater.”

The United States didn’t enter the war until April of 1917. French and British soldiers had been fighting the Germans since August of 1914, and supplies were being exhausted.

LHJ, August 1917.

LHJ, October 1917. All these “boxed” images are from the same article.

The Armistice treaty which concluded “the War to End All Wars” came into force at 11 a.m. Paris time on 11 November 1918 (“the eleventh hour of the eleventh day of the eleventh month.”) — Wikipedia.

About 8,500,000 soldiers had died. Over 21 million were wounded.

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Filed under 1900s to 1920s, 1910s and WW I era, Accessory Patterns, Menswear, Musings, Nightclothes and Robes, Old Advertisements & Popular Culture, Uniforms and Work Clothes, World War I

Ladies’ Pajamas from 1920

These pajamas were featured in an ad for Rit Dyes. Delineator, April 1920.

I found several images of women’s pajamas (or pyjamas) in this April issue of Delineator. Only one was a Butterick pattern; the others appeared in advertisements. They all had this in common:

These pajamas from 1920 are gathered at the ankle.

Constriction at the ankle must have been a “thing” that year. (It wasn’t new….)

Butterick patterns for April 1920 include the “pajamas or lounging robe,” center, No. 2055.

This pajama pattern was sized for misses and for women up to 44 inch bust measure — so it was not aimed at teens and college girls only.

One-piece pajamas, also sleeveless, were shown in an ad for Dove Undergarments and Lingerie.

An empire waist nightgown or pajama could be purchased from the Dove lingerie company. Delineator, April 1920.

A one-piece pajama, April 1920. Dove ad.

Another stylish pajama can be seen in the upper right corner of this fabric ad:

These college girls are wearing print kimonos and lounging pajamas in an ad for Serpentine Crepe. Delineator, April 1920. The wall is decorated with pennants from East Coast universities, including Smith, Wellesley, and Radclifffe — women’s colleges.

Serpentine Crepe was made by Pacific Mills, in Lawrence, Massachusetts. That’s their circular logo on the wall, below.

Pajamas, detail of ad for Serpentine Crepe, 1920. I do like the pattern of flying birds.

Gathering around the ankles was not new; I’ve seen it in 1917…

Butterick pajamas from 1917. No. 9433 for girls or women.

… and in new patterns issued as late as 1925 and 1926.

Lingerie for Christmas, Delineator magazine, December 1925. Pajama pattern 6031 is lacy and ruffled, and gathered at the ankle.

Butterick pajama 6947 is scalloped, with gathered ankles trimmed in Valenciennes lace. Delineator, July 1926.

The sleeveless, V-necked 1926 top is similar to the 1920 pajama pattern No. 2055.

In 1920, there was considerable variety in the pajama tops.

The high-waisted top of this one-piece pajama has a square neckline and short kimono sleeves.

The long top of these lounging pajamas is rather like the tunic dresses of the nineteen-teens. The bands of trim look like fagoting or insertion lace.

This sleeveless pajama top, Butterick 2055, looks cool and summer-y. [Notice the very different hairstyles on these women!]

But the alternate view of 2055 shows a version with sleeves and collar variations — and pajama bottoms that hang straight and loose at the ankle.

Alternate views of Butterick “pajama or lounging robe” No. 2055. Delineator, April, 1920.

It’s possible to imagine this sailor-collared pajama venturing out onto the beach — eventually.

Butterick 5948, pajamas from April of 1925, can be worn as beach pajamas. Delineator.

When did women start wearing pajamas? The Vintage Traveler wrote about that question here. Sweet dreams, everyone!

 

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Filed under 1910s and WW I era, 1920s, Hairstyles, Nightclothes and Robes, Old Advertisements & Popular Culture, Women in Trousers

Vacation Needed

Illustration from Delineator, 1925. This rural schoolteacher was tired out.

I’m not quitting — but after more than 500 posts, I do need a vacation!

I started writing witness2fashion in 2013, partly inspired by my discovery of more than 400 bound copies of Butterick’s Delineator magazine in storage at my public library. I was stunned by the color illustrations, and fascinated by the pattern illustrations and the advertisements. Very few of these magazines have been digitized or microfilmed — the latter is a blessing, in a way, because so many color magazines were preserved in black and white and then discarded by libraries during a wave of microfilming that took place just before digitization in full color became possible. That seems incredible, but…. [Recommended reading: Double-Fold: Libraries and the Asssault on Paper, by Nicholson Baker.] 

Hikers. Color illustration from an ad for Ivory Flakes soap, Delineator; October 1928.

Because of my interest in “everyday” fashions and working class clothing, Butterick’s “middle-class,” Paris-oriented Delineator would not have been my first choice — I was hoping to find McCall’s magazines. I used to own a few from the 1930’s, so I know they had color illustrations. But my last inquiries — assisted by a reference librarian — didn’t turn up any actual bound volumes of old McCall’s within 200 miles of me (and I am surrounded by universities!) The Los Angeles public library seems to have some from the 1920’s — but whether they are actual, bound magazines or black and white films, the librarian couldn’t tell me — and I’d have to take a vacation to visit them.

https://witness2fashion.files.wordpress.com/2015/02/1933-feb-cover-500.jpg

Delineator cover by Dynevor Rhys, 1933. Who knew green and orange could look so sophisticated?

So, it’s time for me to spend a few weeks visiting the bound periodicals I love so much right here in San Francisco — a working vacation, but overdue.  I particularly want to research and document the sudden transition in styles between 1929 and the early thirties — but if you have a favorite year between 1900 and 1920 I could dip into, I do enjoy a bit of variety! Please use the comments section for suggestions (no promises, but….)

Meanwhile, Oldies but (I Hope) Goodies

Five years ago I found those magazines were full of things that really excited me, so I shared them — not just patterns, but articles and ads about everything from breast flattening corsets to family budgets, and new items like Knee-High stockings (1930s) and paper towels (people had to be taught what to do with them!) If you’re curious about a woman’s clothing budget in 1924 and in 1936, click here. For a family budget in 1925, click here. From the Great Depression year of 1936, I found a budget and related items about “Living on $18 per Week.” Click here.

https://witness2fashion.files.wordpress.com/2014/03/whc-feb-1937-p-81-run-in-stocking.jpg

I’m hoping that new followers (bless you, every one!) will enjoy getting links and brief introductions to some of those blog posts from the past — so I will post a group of links regularly instead of writing entire new posts for August. I’ll try to group them by topic.

For a start, here are a few posts that highlighted the unexpected color combinations of the 1920’s:

A Lament for Bound Periodicals  (posted in February, 2015)

https://witness2fashion.files.wordpress.com/2014/10/1924-oct-p-27-bride-5447-mofh-5513-maids-5548.jpg

A bridal party in shades of orange, 1924. Delineator magazine.

Orange and Blue in the Mid-Twenties  (posted in December 2015)

https://witness2fashion.files.wordpress.com/2014/10/del-1925-feb-orange-and-black.jpg

Blue and orange are complementary colors — they make each other look more intense, as in this illustration. Right, orange and black are combined in a young woman’s dress; Delineator, February, 1925.

1920’s Orange and Black: Not Just for Halloween   (from October 2014)

Colorful Fashions for April, 1926  (from April 2017)

This "Aztec" pattern hand painted shawl was made in the Samuel Russel Studio, New York, and illustrated by Katharine Stinger for an Ivory Soap Flakes ad. Delineator, March 1927.

The Colorful Past  (from February 2014)

https://witness2fashion.files.wordpress.com/2014/02/1928-nov-ivory-soap-ad-colorful-nightwear.jpg

And so to bed…. Do you dream in color? I do.

I’ll have many new images to share by September!

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Filed under 1920s, 1920s-1930s, 1930s, Musings, Nightclothes and Robes, Old Advertisements & Popular Culture, Sportswear, Vintage Accessories

Bare Shoulders, December 1933

Butterick 5437, December 1933. Delineator.

Back in the nineteen nineties Donna Karan realized that, as women age, some become reluctant to bare their necks, or their upper arms, or their chests. Yet, for women, formal evening dress usually requires some bare skin. Karan cleverly exposed the shoulders! Shoulders rarely get wrinkled or flabby, and their skin never sags.

Click here for the “cold shoulders” dress as worn by then First Lady Hillary Clinton in 1993. Versions were also worn by Barbra Streisand and Liza Minelli.

Those Karan bare shoulders are back now: click here.  In 2017 they have worked their way into Bloomingdales, Macy’s, and even children’s clothing. But Donna Karan wasn’t the first to show bare shoulders, by sixty — or ninety — years.

Butterick 5415, a “cold shoulders” nightgown from December 1933. Delineator, p. 60. [“Cold shoulders” is not the 1930’s description.]

Film designer Howard Greer created a bare-shouldered dress for Katherine Hepburn in Christopher Strong, 1933.

Katharine Hepburn’s bare-shouldered dress, designed by Howard Greer for the film Christopher Strong, was available as a Butterick “starred” pattern in May, 1933. Delineator.

Butterick 5156 was a faithful copy of this 1933 movie costume.

https://witness2fashion.files.wordpress.com/2016/02/5156-5154-front-and-back-views-may-1933.jpg

In the 1930’s, patterns that had bare shoulders — or slit sleeves that revealed bare upper arms — were available. Butterick 5437 and Butterick 4944.

Right, Butterick evening dress pattern 5530. On the left, Butterick 5518. From 1934; Delineator.

From 1935, this gown for a young woman echoes the evening gowns of an earlier era.

Butterick 6061 from February 1935.  The text says,”Borrowed from another century, the robe de style is today’s evening news.”

However, the bodice evokes this Edwardian evening style:

Evening gown from the House of Worth, 1906-1908. Metropolitan Museum Collection.

The fitted hips of  the 1935 version bears no resemblance to the “robe de style” popularized by Jeanne Lanvin in the 1920’s. [Fashion writing…. as imprecise in 1935 as it is today.]

https://witness2fashion.files.wordpress.com/2015/05/met-lanvin-1926-robe-de-style-62-166-2_front_cp3.jpg

Robe de Style, Jeanne Lanvin, 1926. Collection of the Metropolitan Museum. It’s hard to see any resemblance between this gown and Butterick 6061.

The bare shoulders of Butterick 6061 can be seen in 2017: click here.

More about this 1933 nightie:

Butterick 5415, a “cold shoulders” nightgown from December 1933. Delineator, p. 60.

The same article, about lingerie, showed a rather extreme velvet negligee:

Butterick negligee pattern 5413, December 1933. Delineator. [The play, which opened in 1932, as described in The Harvard Crimson as “one long bedroom scene.”]

It’s more fun than getting pajamas for Christmas.

Although I wouldn’t say no to these:

Lounging pajamas from 1933. Butterick 5410. [And, yes, in the 1960’s my college dorm still turned off the heat late at night.]

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Filed under 1900s to 1920s, 1920s, 1920s-1930s, 1930s, evening and afternoon clothes, Nightclothes and Robes, Vintage Couture Designs, Vintage patterns from the movies