Category Archives: Old Advertisements & Popular Culture

Embroidery Ideas from 1927: Sports Motifs and More

Butterick embroidery transfer 153, from Delineator, May 1927.

The oriental motifs on the scarf look a bit bigger than 5 3/4 inches…. Artistic license, presumably.

Vaguely Middle-Eastern (“Oriental”) embroidery motifs for hat and scarf, Delineator, May 1927.

The vaguely “oriental” embroidery on this dress from May 1927 is the top right design from Butterick 153, rotated to the left. Butterick 1390. Delineator.

But for me, the delight of this particular set of transfers is the women playing sports : tennis, golf, and polo.

Sportswomen depicted on Butterick embroidery transfer 153, from 1927.

You could use this design to make your own 1920’s “Polo shirt.”

[Note: This post is dedicated to sportswear collector, mentor, historian, and always interesting blogger The Vintage Traveler. ]

Tennis players in an ad for Lucky Strike cigarettes, Nov. 1927. “You, too, will find that Lucky Strikes are mild and mellow,” said Ed Wagner to Margery Bailey.

Monogram Mania

https://witness2fashion.files.wordpress.com/2015/09/lenglen-tennis-1919-ewing811.jpg?w=500

Tennis champion Suzanne Lenglen wore many outfits designed by couturier Jean Patou in the 1920’s, which helped to popularize his sporty sweaters and skirts.  Lenglen first appeared at Wimbledon in Patou’s short white silk pleated skirt and a sleeveless cardigan in 1921. According to Brenda Polan & Roger Tredre, her outfit created a sensation and introduced the sporty, boyish look known as the “garçonne.”

“As with so much sportswear, many of [his] clothes were in reality bought by women who did not participate in sport and were more interested in showing off their Patou monogrammed cardigan sweaters to their envious friends.” — Polan and Tredre, in The Great Fashion Designers

Patou took credit for shortening skirts to the knee in 1925; he was one of the first designers to put his monogram very visibly on his designs — monogrammed cardigans, scarves, etc. This was a clever move, since without the stylized  JP monogram his relatively simple sportswear — sweater, skirt, and matching scarf — would not have proclaimed its price. [Sometimes I’d like to go back in a time machine and strangle Patou, but then I realize that somebody else —  probably his arch-rival, Chanel — would have invented the merchandising of monogrammed “Designer” everything if he hadn’t done it.] For a concise history of Patou, see The Great Fashion Designers, by Polan and Tredre.

A  monogrammed tennis dress (or just a sporty dress) from May 1929. Butterick 2621;  Delineator.

After Patou popularized monogrammed sportswear in the 1920’s, Butterick’s Delineator magazine showed monograms or other embroidered motifs on many of the patterns illustrated.

Monograms on Butterick patterns from October 1924. On the left, GAB; on the right, JK.

Monograms in vaguely “Chinese” lettering were popular, as was stylized lettering that created a spot of interest on an otherwise simple garment.

Monograms in April 1927 and 1925. The dress at left uses the monogram letters below; three letters (R S K) create a diamond shape.

Butterick lettering transfer 10309 could be used to make a diamond-shaped monogram: one large letter between two smaller ones. January 1925.

Letters in the shape of Chinese brushstrokes were also chic:

Pseudo-Chinese letters for monograms; Butterick 10245, May 1924. Two letters — one from the set at left, one from the set at right — form a (roughly) diamond shape.

The monogram on this Butterick blouse says “AG.” September 1924.

Although completely unlike the other designs from Butterick transfer 153, this idea of embroidering a posey of poppies as if the flowers are emerging from a pocket is still charming:

A bunch of embroidered poppies seems to grow from the pocket of a dress or blouse. 1927. This design could be an applique, too.

Note: I quoted the passage about Patou and monograms from a previous post about tennis and fashion. Click here to read more.

It was customary, in three-letter monograms, to put the initial of the last name in the center, in a larger size, with first and middle name initials on either side. The monogram of Betty Louise Smith would be B S L.

 

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Filed under 1900s to 1920s, 1920s, Accessory Patterns, Old Advertisements & Popular Culture, Sportswear

Sleeveless (and Almost Sleeveless) in 1924

“New in New York:” Sleeveless dresses, May 1924. Delineator, p. 23.

“The sleeveless styles are to be much worn for country dresses and frocks for restaurant use…. For out of town these dresses are made of the fine cotton materials in white and delicate colors.”

Caption for “New in New York” article by Evelyn Dodge, Delineator, May 1924.

What makes this worth notice is that most contemporary fashion advice until 1924 emphasized that evening dresses were sleeveless; day dresses for city wear were not.

This dress is definitely “sleeveless,” and the parasol tells us that it is not being worn as an evening dress, but an afternoon dress. May 1924.

Although the dress in this illustration does not look short to me, editorial advice in April declared: “Dresses remain decidedly short except for evening. For day dresses sleeves can be long or short [;] evening dresses are sleeveless.” Nevertheless, the rules were obviously changing in 1924, as this drawing of a casino shows:

From an advertisement for Butterick in Delineator, January, 1924. “On the Riviera, in Paris, wherever fashionable society meets….” Dresses with long and short sleeves, as well as sleeveless dresses, are worn at this gaming table, blurring the distinction between day and evening clothes.

Often, nineteen-twenties’ lace, silk, or chiffon afternoon dresses used the same pattern as an evening dress — but the evening version was sleeveless and usually had much lower-cut armholes:

This evening dress for Misses has deep armholes. Butterick 5255, Delineator, June 1924.

Paris showed some very deep armholes in 1924 …

Soulie’s sketch of a Paris evening gown by Doucet, Delineator, June 1924.

Paris couture by Georgette, left, and Lenief, right; March 1924. Delineator.

Description of evening gown by Lenief, March, 1924. Delineator. “For more formal evening use the decolletage is deeper and the bodice is entirely sleeveless.”

Butterick evening gowns from April 1924: No. 5126, in yellow, has armholes that reach the waist. It is a robe de style in the mode of Jeanne Lanvin. No.  5110, in pink, is more conservatively sleeveless.

Sometimes the underarm opening was very revealing; it could be charming when a lace or chiffon under-dress was revealed, as in this advertisement:

Very low-cut armholes reveal the under-garment in this 1924 ad for Vivaudou talcum powder.

Not all evening gowns had extremely deep arm openings:

Not all evening armholes were cut extremely low. Sleeveless Butterick 5064 from April 1924.

However, the “sleeveless” look that caught my attention as distinctly a fashion of 1924 is this one:

A closer look at the “New in New York;” the dress on the right of the illustration of “sleeveless” dresses has an unusual armhole, cut very deep and finished with a band of fabric. Delineator, May 1924.

Several versions were offered as Butterick patterns.

Right, a different illustration of the dress in the editorial illustration: Butterick 5199, shown here in yellow, is a deep-armholed dress is made of sheer chiffon.  May 1924. Notice how far below the top of the slip is the bottom of the armhole.

Butterick 5259 appeared in April, 1924. Anyone looking at her side with the arm raised would have seen inside the dress. It could also be made with long sleeves.

For vintage dealers and historians, here’s an interesting fact: Butterick 5259 used elastic in a casing at the sides of the low waist.

In June, a similar style was illustrated as a dress for Misses:

Butterick 5253 was similar to 5259, but the dress is not printed with stripes; those are graduated tucks which get bigger near the hem.

This blurry photo of a dress by Paul Poiret shows a similar deep armhole with a wide, straight binding:

Photo of a dress by Paul Poiret, from Delineator, July 1924.

“Sleeveless Styles;” detail of Butterick dresses 5350 and 5360, July 1924, Delineator. No. 5360 was available up to size 52.

These are not “sleeveless” by today’s standards; other, more typical 1920’s styles might have a sort of cap sleeve, often cut in one with the shoulder of the dress:

Typical twenties’ dresses with short sleeves, sometimes cut-in-one with the body of the dress. These are not described as sleeveless. All from 1924, Delineator. Butterick 5375, 5368, and 5221

However, I haven’t yet found a specific word for the low, bound arm openings like this one, simply described as “bindings” or “sleeve bands” :

Butterick 5267, from June 1924.

Pattern information an alternate view for Butterick 5267, June 1924. This view (far right) has long sleeves.

These wide, band-bound armholes were also seen a blouse:

Butterick blouse pattern 5575, as shown in November (left) and October, 1924. (Yes, Butterick also sold patterns for cloche hats. See more hat patterns from 1924 here.)

Of course, sleeveless fashions helped to sell certain grooming aids in 1924:

Ads for Zip hair remover, both from Delineator, 1924.  “Those embarrassing moments… those critical looks….” Superfluous hair is “off because it’s out.”

Removal of underarm hair was not a new idea — evening gowns of the 1910’s were also revealing.

This Neet depilatory ad from 1924 suggests that “Perhaps because of an old-fashioned scruple you have hesitated to rid yourself of the disfigurement of underarm hair….Are your arms constantly pinned to your sides? …The swing of convention … is carrying America back to the old Greek ideal of womanly beauty — the unhampered, active, supple body.” It was also a body with underarms as hairless as a marble statue.

Ad for Neet hair remover/depilatory. Delineator, Oct. 1924, p. 25. “…Rid yourself from the disfigurement of underarm hair.”

Ad for Neet dipilatory, Nov. 1924. Delineator, p. 99. (That’s some party!)

In 1925, the peculiar “sleeveless sleeve” I’ve been showing was still around — this time, on a nightgown. I love the striped pajamas, too.

Nightgown 5936 and pajamas 5948; Butterick patterns in  Delineator, April 1925.

 

 

 

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Filed under 1920s, Accessory Patterns, Nightclothes and Robes, Old Advertisements & Popular Culture, Sportswear, vintage photographs

Twenties’ Fashions for Larger Women, September 1928

One of these dresses was available in size 52. Butterick patterns in Delineator, September 1928, p. 36.

The fashion editors at Delineator magazine often grouped patterns for larger or more “mature” women together in a one-page article, but in the September 1928 issue, large-sized dresses were shown beside patterns for college girls and women of standard sizes. I’ve long been surprised than in the mid-twenties, when the “Boyish” figure was extolled, the standard Butterick pattern sizes — based on bust measurement — were 33 to 44 inches. But some patterns were issued up to “bust measure 52 inches.”

Left, pattern 2226 for college and career girls; right, pattern 2211, for women with bust sizes up to 52 inches. From 1928.

Details of Butterick 2226, for 15 to 20 years and bust 32 to 40;  and Butterick 2211,  an “all day frock” for sizes 34 to 52. Delineator, Sept. 1928, pg. 35. Are those herringbone stripes in this wool dress?

Top of page 35, which featured wool frocks and coats in sizes from 15 years (bust 32″) to size 52.

Butterick frock 2233 and coat 2230. The coat was sized from bust 32″ to 48″. Delineator, Sept. 1928, p. 35. Note the coat’s triangular pockets, which “merge” into a belt. And what was going on with that dress front? Over? Under?

Butterick 2209 and 2217. To me, the dress on the right, with its little “lingerie finish” ruffles and conservatively feminine qualities, looks like something aimed at mature women, but it is only offered in smaller sizes: age 15 to 20 years and 38, 40 [bust].

The unusual front tabs and sleeves on Butterick 2209 are worth a closer look:

Detail of Butterick 2209 and 2217, Sept. 1928. No. 2209 (left) was available for bust sizes 32 to 44.

“Sport Clothes” to wear to the “big games.” Delineator, Sept. 1928, top of pg. 34.

The second dress from the left looks rather fancy for watching football; the dress on the top left was suggested for larger-than-average women.

Butterick 2231 and 2221, from 1928. No. 2231 was available up to bust size 52 inches.

A vestee is a kind of dickey — a partial blouse.

Some of these dresses have skirts that are plain in the back, with all the fullness, pleats, etc., in the front. This was common in early twenties’ dresses, and still seen here, on some dresses, in 1928. (Patterns 2226 and 2211 show pleats in back, too.)

The back views of Nos. 2226 and 2211 show pleats in the skirt back, too.

Nos. 2193 and 2180 (plaid) have plain skirts in back, with pleats only in the front.

Butterick wool sports frock 2193 and coat pattern 2151. September 1928. Only the front of 2193 is pleated. Both dress and coat are in the average pattern size range. For a dressier version of the same coat, click here. 

This jaunty plaid coat and dress were not limited to slender women:

Butterick two-piece dress 2180 coordinated with coat 2222. September 1928. This “youthful and becoming dress was for bust 32 to [a bigger than average] 46. The coat pattern came in a standard range of sizes, 32 to 44 (with a 47.5″ hip.) I love the diamond shaped “belt encrustation.”

As for evening gowns, the pattern on the left was available up to size 52.

Butterick evening dresses from 1928. Left, no. 2131, with a long side drape, for sizes from 34 to 52; right, Butterick 2125 in sizes from 32 to 44 bust.

Here are some advertisements from the same issue of the magazine. For “the larger woman,” hosiery manufacturers offered slenderizing styles like this one:

From an ad for Allen-A hosiery, Delineator, Sept. 1928. “Note the slenderizing effect this new, longer point Allen-A Heel gives to the ankle.”

Shoe advertisements show that even brands which promised comfort to mature women offered some very high, narrow heels.

Top of Dorothy Dodd shoe ad, Delineator, Sept. 1928.  “Dorothy Dodd shoes are designed to make the foot look youthful.”

Ad for Dorothy Dodd shoes (this image is slightly skewed at the bottom.) Delineator, Sept. 1928.

Queen Quality shoe ad, Delineator, September 1928. The “Sherwood” and “Tiffany” models look like somewhat practical walking shoes, but the “Trickie” (lower left) seems aptly named.

“And Queen Quality keeps the cost of all four pairs less than the cost of a single frock.” They total $37.00 — not an inexpensive frock! (They are not cheap shoes.)

This jersey dress could be ordered for $8:

Ad for a Hubrite wool jersey dress, Delineator, September 1928, p. 101.

Hubrite dress in sizes 16-20 — 36-46. Ad in Delineator, Sept. 1928.

 

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Filed under 1920s, 1920s-1930s, Hosiery, Hosiery, Old Advertisements & Popular Culture, Shoes, Sportswear, Vintage patterns, Vintage Styles in Larger Sizes

Paper Dolls from Silent Movies, 1917

“Who Are They?” paper dolls of movie stars with costumes from their roles. Illustrated by Corwin Knapp-Linson for Delineator magazine, April 1917.

I’m sorry I didn’t photograph the first in this series, which combines paper dolls (in color) with a “Name the Actors” contest. Of course, the silent films of 1916 and 1917 would have been black and white [although sometimes the whole image was tinted:  yellow for day, or blue for night, etc.] so the colors of the doll costumes are sometimes just the illustrator’s “colorization.”

Patten Beard Presents Peter Pan’s Movie Contest, Delineator, April 1917. “The dolls on this page represent two of the most popular moving-picture actors. Who Are They and in What Plays Are They Shown Here?” Note that the films are called “plays.” And the prizes are quite generous, for a children’s contest.

If you are interested in silent films, as I am, trying to name the actors in these monthly contests is quite a challenge. The majority of silent films have been lost, some leaving not even still photos behind. A knowledge of costume history does supply some hints to the period represented in the film — Renaissance, modern dress, fantasy, 18th century, etc., which suggests (or at least eliminates) some movie titles from 1915-1917.  If you want to play — no prizes, I’m afraid — please contribute your comments! You can find lists of film titles, by year, in several places, including wikipedia: 1917  1916  and  1915 MoviesSilently is currently running many centenary articles about 1917 films.

Delineator, which ran this contest, was a large format magazine, so showing a whole page on this blog doesn’t provide enough detail; I’ve isolated some images for improved visibility.

One actor, three costumes. Can you identify the man and his movies?

Who is this “popular moving picture actor?” Delineator, April 1917.

Around 1917, he played an academic, a man of the Renaissance, and a 20th century soldier.

He wore both renaissance costumes and modern dress.

The very petite young lady beside him (who sometimes seems to be dressed as a boy) may or may not have shared a wedding scene with him:

Center bottom of page, Delineator, 1917. Wedding dress or Confirmation dress?

She also seems to have worn a sort of Titania/Queen of the Fairies costume, a wild child of the woods costume, and to have filled the boots of a Renaissance boy.

Who is this changeling?

I was half-way successful with the paper dolls from May, 1917.

The Patten Beard Peter Pan Paper Doll movie contest from Delineator, May 1917. The lady at right is Geraldine Farrar.

The costumes clearly representing Joan of Arc led me to Joan the Woman, a Cecil B. DeMille silent released in 1915. Geraldine Farrar was a very successful opera singer who made several silent (!) movies between 1915 and 1920.

Geraldine Farrar’s costumes for Joan the Woman include a suit of armor, with helmet, and a short, crudely cropped wig for her execution. What modern dress movie did she make between 1915 and 1917?

Perhaps her skirt and blouse outfit is from The Devil-Stone (1917.) Farrar played a “fishermaid” who finds a cursed emerald….

Her paper-doll costume for Carmen includes a fan (but no cigarette…. Do click to see this image!)

Left, a costume for Carmen (1915); right, St. Joan as a peasant girl.

The movie poster shows Joan’s dress as scarlet, but blue worked better for this illustration, since Carmen wears red.

Delineator explained that “these pictures are based upon photographs supplied by courtesy of the motion-picture producers….”

Movie contest actors for May 1917, Delineator. He looks sooooo familiar…

I have not identified this actor:

Can you name this actor? He played a 16th c. soldier and also worked in modern dress by May, 1917.

It’s possible that the 16th century costumes are from the St. Bartholomew’s Day massacre (1572) scenes in Intolerance: Love’s Struggle Through the Ages  (1916). I did see it once, but I’m not willing to sit through it again this week….

The same actor can be found under that beard; he seems to be an explorer dressed in a dustcoat & solar topee (and spats,) and wearing a holster for the pistol at his left. On the far left, a swashbuckling 16th c. costume with round hose and wide-brimmed hat. From Intolerance?

From the July issue, I was able to identify William Farnum (Dustin Farnum was his brother) in A Tale of Two Cities (1917) and in one of his many westerns. The actress pictured with him does not have a matching 18th century wardrobe, so she’s probably not his frequent leading lady, Jewel Carmen.

Paper Doll “name these actors” contest, Delineator, July 1917. Top of page 18.

Paper Dolls from bottom of page 18, Delineator, July 1917.

Actor William Farnum and an actress who is still a mystery to me. Does anyone recognize her?

The 18th century costumes for this actor led me to A Tale of Two Cities. Here he is wearing the dark costume, with the buckle-banded hat, although the doll instructions say it goes with the yellow coat.

William Farnum made many westerns; he seems to be wearing this suit in at least two of them. It’s tan in the movie poster.

Here is a color poster for The Man from Bitter Roots (1916). He seems to have worn the same costume in True Blue (1918.)

The actress drawn in a green evening gown also wore these costumes:

A Civil War era costume and a sort of female Uncle Sam outfit.

Any costume with a Civil War flavor suggests Birth of A Nation (1915), but that was not the only pre-1918 film set in that era. (And she doesn’t resemble its female star, Lillian Gish.) She also wears a green brocade evening gown and a “peasant-ish” red ensemble.

Evening dress and peasant attire. Paper Doll costumes from the movies, 1917.

In August, there were three actors to identify: child actors.

Paper dolls based on three child stars of 1917. Delineator, August 1917, p. 18.

“The paper dolls on this page represent three of the most popular moving-picture actors. The costumes are those they wore while being filmed in their latest plays. Who are they?”

Three silent film stars from 1917.

Children were often the stars of shorter films, which makes finding their titles less likely. The boy seems to have played both princes and peasants — but were they in the same movie?

A child star in an elaborate uniform, plus two less exalted costumes. August 1917.

This character stands next to a sword:

Does the sword go with this gray costume, or the white uniform? If we saw the movies, we’d know.

Sometimes child stars were filmed in parodies of well-known films, in which they mimicked adult actors. That may explain the pink evening gown worn by this young actress:

One costume for this child actor is a lavish, pink, adult evening gown. August  1917. She has a rather impish look in the image at right.

A simple, possibly 19th-century dress for the young star with bobbed hair. Delineator, August 1917.

Baby Marie Osborne had this hairstyle; famous for playing Little Mary Sunshine (1916), she was earning $1000 a week and made about 28 films before retiring at age 8. Unfortunately, her parents mis-spent her earnings; she made a second career for herself as a movie costumer, including The Godfather, Part II. I can’ t confirm her identification using these costume illustrations — can you?

The curly-haired child star at the upper left of the page carries a doll that evokes another of her costumes:

Left, the young star, barefoot, in a simple, shift-like dress; center, a more prosperous look, probably intended for the mid-1800s; right, an up-to-date dress, trimmed with lace and accompanied by a matching hair bow. Delineator, August 1917.

A visit to the Young Hollywood Hall of Fame shows how many young actors there were; some even grew up to be adult actors, like Dolores Costello,  Bebe Daniels, and Mary Miles Minter.

Please comment if you recognize any of these actors & costumes from a film you’ve seen!

 

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Filed under 1900s to 1920s, Costumes for the 16th century, Costumes for the 18th Century, Costumes for the 19th century, Old Advertisements & Popular Culture, World War I

Companion-Butterick Pattern for Short Misses, May 1937

Three very different dresses “for Short Misses” from one “Triad” pattern, Companion-Butterick 7361. Woman’s Home Companion, May 1937. [These women do not look short….]

The Woman’s Home Companion often featured “Triad” patterns, which promised three styles from one Butterick pattern. This one, Companion-Butterick 7361, is unusual in that the styles are so very different from each other. The flattering center-pleat skirt is shown with and without top stitching, in crisp or soft fabric, but it’s recognizably the same pattern piece. The bodices, however, have very little in common.

Left, Companion-Butterick 7361 in a sleeveless version with tied shoulders and a sharply angled front.

The armhole seems to echo the pointed front. Bows at the shoulders are repeated in the belt. There is a small, angled bust dart at the side, but most of the bust fullness is supplied by fabric gathered at the shoulders. The “sunback” opening is square.

Back and alternate views of Butterick 7361, a “Triad dress for Misses 5 feet 4 inches or under.” WHC, May 1937. Sizes 12 to 20; 30 to 40 inch bust measure.”

A zip-front version of Butterick 7361 has top stitched pleats and a crisp white collar to match its white zipper and belt buckle. WHC, May 1937. The editors called this a shirtwaist, but suggested “you can twist pearls over the shirt collar of the print.”

In 1937, zippers on relatively dressy dresses were a new idea. (And zippers were not always available in a wide range of colors.) This dress is not active sportswear, nor is it a housedress or work uniform. The small white clutch purse hints that this could be worn shopping, or out to lunch. In this version of Butterick 7361, the bust fullness is controlled by two parallel tucks at each shoulder. Tiny (false?) pockets with tabs have white buttons to match the buttons on the puffy sleeves.

The third version of this dress is definitely the most formal.

A formal afternoon dress version of 7361 is illustrated with a sheer over-layer, which could have long sleeves. WHC, May 1937.

In this version, the bodice has a shaped waist with the fullness softly gathered to it. The shoulder area is shirred. The modestly V-necked collar is trimmed with artificial flowers, and the belt has become a sheer sash tied in a big bow.

Text explaining Companion-Butterick 7361, Womans’ Home Companion, May 1937, p. 83.

Sometimes WHC illustrators drew shoes supplied by their advertisers, but I can’t find an exact match from this issue.

Air Step shoes ad, with prices, WHC, May 1937. The high heeled sandal on the right is very similar to the black shoes shown with the afternoon dress version of 7361.

From an ad for “Cabana” shoes by Walk-Over, WHC, May 1937.

Cabana shoes from Walk-Over, from an ad in WHC, May 1937. Perforated shoes for summer. The “Ardwyn” style was patented.

I tend to think of white, perforated shoes as “old lady” shoes, probably because my grandmother still wore them in the 1950’s. But the two-tone “Caribee,” above right, right does not have wide, low, “old lady” heels.

A store-bought, zip-front, print dress similar to Butterick 7361 is worn with stack-heeled white shoes by the model in this ad for Air Step shoes. WHC, May 1937.

For casual shoes, Keds (United States Rubber Co.) made many attractive cloth shoes in the 1930’s.

Ad for Kedettes cloth shoes for summer; WHC, May 1937. They were available in a wide variety of colors and styles. Prices $1.29 to $2.29.

This similar “Kedettes moccasin,” in white and navy, is from 1938:

Bottom of page, Kedettes shoe ad, McCall's, July 1938.

I love those striped soles!

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Filed under 1930s, 1930s-1940s, Old Advertisements & Popular Culture, Shoes, Sportswear, Uncategorized, Vintage patterns, Zippers

Summer Color: July 1926

The top of page 28, Delineator, July 1926. These are Butterick patterns for women.

Bright colors were on view in the July issue of Delineator for 1926. The colors are not necessarily what we think of as summery hues, but they’re a nice reminder that the clothes we usually see in black and white photos were not colorless at all.

The colors of the left, Butterick pattern 6883, seem rather autumnal. The brilliant blue dress on the right, Butterick 6914, has a white smocking, a white collar, and a lively necktie which matches her hat. July, 1926.

Detail of Butterick 6883. The bib effect — like the bib on a man’s formal shirt front — is seen in many 1920’s dresses. The fullness at the front of the skirt is controlled with rows of ruching.

Detail of Butterick 6914. White smocking decorates the bodice and keeps the dress snug over the hips.

The necktie is not shaped like a man’s tie.

Left, Butterick 6914; right, Butterick 6906 in a very lively abstract print fabric. 1926.

The sleeves of Butterick 6906 are wide below the elbow and hang open. The tucks at the top of the skirt panels give a slim fit over the hips but allow the skirt panels to flare out. I don’t think I’ve seen this detail before.

Detail, Butterick dress 6906. The collar is not the dress material, but solid white. The print suggests flowers on a trellis.

These dresses appeared on the bottom of page 28:

Dresses featured on the bottom of page 28. (I moved the one on the left to make the image more compact.)

Butterick 6922 is shown made in lavender-blue striped fabric, cleverly turned to use the stripes horizontally in the center front, on the decorative pockets, and inside the skirt pleats.

Butterick 6916, shown in dark yellow material, is another “bib front” dress. Butterick 6922, in red, is accented with white smocking and worn with a gray and black scarf and matching hat. 1926.

Butterick 6916,  in yellow, has a small pocket above the hip belt.

Butterick 6922, in red, has a gathered front skirt panel (like No. 6883 on page 28) and smocking on the bodice and skirt, like No. 6914.

Left, No. 6922; right, No. 6914. Both dresses have white smocking, but in different smocking patterns. Women who didn’t want to do this hand sewing could always substitute machine ruching, but the liveliness of a contrast color would be lost.

Six more dress patterns, in more formal styles,  were illustrated in color on page 29:

Butterick patterns illustrated in Delineator magazine, July 1926, pg. 29. Illustrations were probably by Marie L. Britton, who also illustrated the May issue of Delineator, and many others.

From left, Butterick 6910, in green; 6899, in blue-gray, and 6893, in gold. Top of page 29, Delineator, July 1926.

In 1926, hemlines are rising toward the knee. It might be helpful to imagine these dresses on real women, rather than the oddly lengthened torsos of fashion illustrations.

Two mature women wearing Bien Jolie corsets; both ads are from 1926. [Younger women were rejecting bust flatteners by the mid-twenties.]

Fashion illustration and photo of model, 1926. The real woman is much less elongated: she’s shorter and wider. On the right, I removed a section from the middle of the fashion illustration, just for fun. It’s not perfect — the hip flounce looks too high now — but it’s more credibly human.

Fullness in the lower sleeve — or a funnel sleeve — is a common feature on these afternoon outfits.

Butterick 6910, July 1926. Scallops were a feature on many 1920’s dresses, not always on the hem.

Left, Butterick afternoon dress 6899; right, Butterick 6893. The sheer fabric is probably Georgette chiffon.

Bottom of page 29, Delineator, July 1926.

Dress 6912, in greige/tan, has elaborate embroidery on its full, sheer sleeves, which are controlled by parallel rows of gathers (ruching) at the top.

Left, Butterick 6912, with embroidery pattern 10355; right, Butterick 6920 is very formal afternoon wear.

The lower sleeves of No. 6920 seem to be one long strip of lace, open at the sides. Pale peachy-pink or tan was often used with sheer black. Click here for a vintage dress that uses these colors.

Butterick 6952 is an ensemble of a dotted dress and sheer coat, worn open down the front for a slenderizing line.

Redingote dresses like this — open down the front and often made of sheer fabric — were popular in the 1920’s and after. Next: Colorful 1926 clothing for girls and boys.

 

 

 

 

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Filed under 1920s, Corselettes, Corsets, Foundation Garments, Old Advertisements & Popular Culture, Sportswear, Uncategorized, Underthings, Underthings, Hosiery, Corsets, etc, Vintage patterns

“Zip” — Slide Fasteners from Sears, Part 2

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Ad for Talon Slide-Fasteners, Delineator magazine, March 1929. Butterick, which published Delineator, also sold dress pattern 2365, which used several zippers. It is the dress being worn by the woman shopper in the Talon ad. Talon zip “colors are black, white, two tones of gray and two of brown.”

While poking around in 1930’s Sears catalogs (via Ancestry.com), I was curious about two things:

  1. After 1935-36 season, when French fashion houses began showing zippers in “dressy” clothing, as opposed to sportswear and work clothes, how long did it take for the fashion to be accepted in the mass market?  I don’t mean in exclusive stores which copied couture, but in low-cost clothing for ordinary women, like those who shopped from the Sears catalog.
  2. I have a theory that the heavy weight zippers which were used successfully in jackets, work clothing, and canvas mailbags in the late twenties and early thirties (See Zip, Part 1) were simply too heavy and stiff to use in the light-weight dress fabrics of the twenties and thirties. Was there a noticeable change in the sizes and qualities of zippers available to home dressmakers in the late 1930s?

Note: All images identified as coming from Sears Catalogs are copyrighted by Sears Brands LLC.  Do not copy them.

A little review: Slide fasteners, soon called zippers in the U.S., were found in sportswear and children’s clothing before they appeared in more formal clothing.

These sweatshirts appeared in the Sears catalog for Fall 1937. Some have zip closings at the neck (and one has America’s favorite rodent….)

A Sears “twin set” from Fall 1937 includes a solid color jacket that closes with a separating zipper, and a coordinating striped sweater underneath. ” ‘Zips’ are fashion pets….”

This terrific ski suit has a separating zipper; “zips” on ski wear and children’s snow suits were so customary that the catalog doesn’t even mention this zipper.

Woman’s ski outfit from Sears catalog for Fall 1937.

Work dresses and house dresses also featured zippers in 1937-38:

Snapper and Zip house dresses and housecoats were shown in the Spring of 1938 Sears catalog. This zipped dress was for “housewives, nurses, beauticians, maids . . . the perfect dress to work in.”

A long (and colorful) front zipper appears on this “hostess gown” from Sears, Fall 1937. It is not for street wear, but it is made from rayon crepe, a soft, clinging fabric.

Left, a dress with a zipper neckline, and right, a sporty two-piece with a front zipper. Sears catalog, Spring 1937.

Description of Sears two-piece outfit for Spring 1937.

The 1937 outfit in the middle — “with three zips!” — has a zip neck opening and two more zippers as trim on the pockets. Sears catalog, Spring 1937.

In the 1938 catalogs, zippers are still appearing on casual, sporty dresses, but also on more dressy outfits. This is a sporty knit zip outfit:

This sporty knit has a long separating zipper as a fashion detail; Sears, Spring 1938. Presumably the zip colors matched the darker fabric.

This dress has one, long, obvious zipper from neckline to just above the hem, and it is definitely not a dress for housework. Sears, Spring 1938. It’s made of washable Shantung rayon. The long vertical line of the zip “gives you that slim, tall silhouette that’s all the rage.”

This “dressy” blouse is made of taffeta — and has a “popular” zipper running right down the front.

Delicate fabric appears in a taffeta zip-front blouse from Sears, Spring 1938.

There is nothing sporty or casual about this 1938 corselet dress with dyed-to-match embroidered sheer sleeve and bodice inserts.

A “Paris inspired” dress from Sears’ Spring 1938 catalog. Where’s the zipper? In the hidden side seam opening. “A Zip placket closing for trim, perfect fit.”

This is another tid-bit of zipper information: in Spring of 1938, the zipper was taking the place of the old snap or hook-and-eye closing hidden in the side seam of a close-fitting dress.

The close fit of this embroidered dress is the result of a hidden “zip placket” in the side seam. Sears, Spring of 1938.

This dress could be ordered in three different fabrics; it has a smooth fit because of its “neat zip placket closing” in the underarm side seam. Sears, Spring 1938. The summer fabrics are soft rayon.

That’s not to say that the Paris influence — using zippers as a design feature — has disappeared.

Three Zips: “This striking dress has decorative zippers in the shoulder seams. Sears, Spring 1938. On “the Newest Zip Dress . . . A zip tops each shoulder  . . . and another zip snugly closes the placket of the new ‘corselet’ waist!”

A center front zipper is a style feature on this embroidered “pebble crepe” ensemble, too:

Embroidered two-piece dress with zipper front. Sears catalog, Spring 1938.  “The Petit Point  . . .  in heavenly colors . . . runs all around hem of flared skirt . . . up the front of the blouse on each side of colored Zip closing.”

Another zipper novelty in the Sears catalog for Spring, 1938, is the Hollywood style of this aqua “corselet” dress:

The novelty of this dress is its “long back Zip.” Sears, Spring of 1938.

If you thought the center back zipper was a tell-tale sign of the 1950s, here’s proof that it can appear earlier.

And, speaking of novelties — Not only a huge variety of zippers, in many lengths, styles, weights and colors appeared by 1939, so did novelty zipper pulls!

Ornamental zipper pulls from Sears, Spring, 1939.

The zip slide fastener on the front of this dress has a “pendant” — an ornamental zipper pull. Sears catalog, Spring 1938.

Ornamental Zip pulls, Sears catalog, Fall, 1939.  “Jitterbug” bead figurines, and “Scottie Dog, Horse or Squirrel hand carved on natural wood.” Also of interest: “Crown’s Iris Zips” made of plastic on matching colored tape, in five lengths and ten colors. Schiaparelli had encouraged the development of these full-color plastic zippers just a few years earlier.

In 1939, Sears offered a truly extensive selection of zippers for all clothing purposes:

Some of the zippers sold by Sears in Spring, 1939. Heavy jacket zips, colored enamel Talon zips…. “French dressmakers are using colored zips for smart costume accent…. Rustproof metal enameled in colors to match cotton tape…. Simple instructions for sewing with each fastener.”

More zippers from Sears, Spring 1939. “Match or contrast the colors in your house dresses, housecoats, sports clothes with colored enamel….”

Crown’s “Iris” colored plastic zip fasteners sold by Sears, Spring 1939. “A smart dress trimming as well as streamline fastening for evening dresses, blouses.”

Special zippers for side-closing dress plackets from Sears, Spring 1939. “Closed at each end– the only zip suitable for smooth “no gap” dress plackets. Gives the dresses you make yourself that smart professional look. Easy to sew in. Colored enamel on matching cotton tape.”

“Mind the Gap”

By 1939 zipper manufacturers (and their ad companies) took some inspiration from Listerine, which used “Halitosis” to sell mouthwash, and from corset manufacturers who convinced women that a curvy backside was “Lordosis,” and created a new, embarrassing condition called “Gap-o-sis,” to describe what happened to dresses that used snaps instead of zippers in their side plackets.

“We moderns don’t wear dresses that have gaposis. Cure plackets that gap with Talon Fasteners.” Gaposis could be avoided by replacing snap-closing plackets with zipper plackets in your dresses. Sears catalog, Spring 1939; top of a page listing zippers for sale.

Because vintage clothing collectors depend on zippers for help in dating garments, EBay has even published a zipper guide for collectors. You might want to compare it with some of these images from the Sears catalog….

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Filed under 1920s-1930s, 1930s, 1930s-1940s, Old Advertisements & Popular Culture, Sportswear, Uniforms and Work Clothes, Zippers