Category Archives: Sportswear

In the Swim, July 1920

Butterick beach costumes or bathing suits in Delineator, July-August 1920, page 101.

I’ve been working on the year 1920, which contains some surprises for me. If you find a fringed “1920s flapper” dress with narrow shoulder straps in a thrift store, it’s probably a costume from the 1960s or later. But evening dresses held up by straps were around in 1920. (More about that in a later post.) The bathing suit pictured (above center) is part of that trend.

While we’re looking at all three suits, notice the different choices for stockings and beach shoes. Each has its own hat, too. First, Butterick 2442:

Butterick “beach or bathing suit” 2442, Delineator, 1920.

The label shows that even the editors of Delineator realized that this outfit might not be suitable for use in the water.

Those pocket-like openings would fill with water and inflict a lot of “drag” on the swimmer, even if they are open at the bottom.

This suit is truly sleeveless. The exaggerated hip width reflects the dresses worn that summer.

Strap-top bathing suit No. 2440 also has a lot of fabric in its dress and bloomers, but the shoulders and upper arms are as bare as in a modern swimsuit.

Butterick bathing-suit 2440, summer of 1920.

Button straps and a straight band form the top of this suit.

“This being the same cut as the evening bodice does away with the uneven showing of coloring if one tans and wears an evening dress.”

This is a very early 1920s’ reference to a suntan being desirable, and to the bare skin revealed in a strap-top evening dress:

Singer Anna Case, photographed for Delineator, February 1920.

The third bathing suit for women is more conservative (for sizes up to 46″ bust.)

Butterick bathing-suit 2445, Delineator, summer of 1920.

Rows of parallel stitching were often seen during the WW I years. The sleeves are also conservative, compared to the other — sleeveless — suits.

That great hat seems to be included.

Bathing suits for younger girls were also illustrated.

Bathing suits for teens and little girls also showed the bare-versus-conservative styling.

The one on the left resembles adult suit 2240, with straps, bare arms, and a belt that passes through the dress.

Styles for girls echo styles for women. 1920. No. 2438 was for “misses”/teens and also for ladies. No. 1718 was for girls 2 to 14 years old.

I have labeled this “circa” 1920, because the small girl’s suit is No. 1718, indicating that it was first issued in an earlier series. Note how the sleeves and parallel stitching echo women’s conservative bathing suit No. 2445.

Taffeta was a recommended fabric for most of these bathing suits. Don’t forget your parasol [1920] or sunscreen [2019] !

For bathing suits from other years, use the search term “in the swim” in the search box at top right.

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Filed under 1900s to 1920s, 1920s, Bathing Suits, Children's Vintage styles, Hats, Hosiery, Hosiery, Hosiery & Stockings, Panties knickers bloomers drawers step-ins, Shoes, Sportswear, Swimsuits, Vintage Styles in Larger Sizes

More Cloche Hat Patterns from 1925: Butterick 5966 and 5952

In 1925, home stitchers could make these cloche hats from Butterick patterns.

Several years ago I wrote about a versatile hat and scarf pattern from Butterick (No. 5218.) I mentioned that my own experience making 1920s’ hats was with factory-made felt hat “shapes,” so  I was surprised to find that pattern companies like Butterick issued many hat patterns for home stitchers. A cloche hat made from a gored hat pattern was apparently quite do-able, and as the decade progressed, the patterns became a little more complex. Many hat patterns for little girls (and girls up to age 12) appeared in Delineator magazine, but patterns 5966 and 5952 were available in a full range of sizes. In this illustration, they are shown with dresses for girls 8 to 15.

Young teen girls wear Butterick hats 5966 and 5952 in this illustration from Delineator, June 1925.

Hat pattern 5952 has six gores and a brim (and usually a bow on top;) 5966 has just one center back seam, and the small brim does not continue all the way around the back, leaving a small space for a bun at the nape of the neck if the wearer’s hair was not bobbed into a short style.

Butterick hat patterns 5966 and 5952, Delineator, April 1925.

Butterick Cloche Hat Pattern 5952

Six-gored hat, Butterick 5952. This style was  illustrated in Delineator in 1925 and 1926.

Pattern 5952 could be made from contrasting fabrics (or from one fabric with the grain running in two different directions.)

5952 with the grain running two different ways.

Hat 5952 made in a shiny solid fabric, in a striped or textured fabric with the grain in two directions, or in one smooth fabric which doesn’t show differences in grain. 1925.

Side view of 5953 with contrasting grain. The back brim is very narrow.

Hat 5952 in a shiny fabric. Crepe satin could also be used, alternating matte and shiny sides.

If this hat was made from a delicate fabric like silk or velvet, you would need to flat-line it (and the brim) with a more substantial interfacing.

The bow at the top did not need to be self-fabric. In later illustrations, this hat was often shown without the bow.

Without the bow on top, hat 5952 is a very simple six-gored cloche. March, 1926; Delineator.

Hat 5952 as shown in January 1926. Delineator. Notice that the brim could be worn different ways, showing the contrasting ribbon hat band.

A simple piece of jewelry on the velvet version of the hat makes it quite dressy. It could also benefit from elaborate embroidery or patterned fabric:

Hat 5952 in Delineator, February, 1926. The embroidery would probably be wool, or “pearl/perle” embroidery floss in cotton, silk, or rayon.

Butterick Cloche Hat Pattern 5966

Butterick hat 5966, shown in April, 1925. “For ladies and misses” and for girls.

Duvetyn was a brushed fabric; wool duvetyn was often recommended for coats.

Hat 5966 has just one seam up the back, and a decorative self-fabric “feather” or leaf, apparently tucked under [or does it go through?] a pinch of fabric at the top.

Butterick hat pattern 5966. Delineator, April 1925.

Butterick hat 5966 in a side view; it’s shown with coat pattern 6037. May, 1925. Delineator.

The shading makes it appear to have gores, but they aren’t mentioned in the description.

If that illustration shows corded silk, and there is only one seam, perhaps the top of the pattern piece is shaped like the top of a heart. Is this a cylinder with a strange, curved top? There is no front seam. The grain appears to run either vertically or horizontally. Does the “leaf” pass through a slit at the top? Too bad that the Commercial Pattern Archive *** doesn’t have this pattern. Yet.

Hat 5966 illustrated in Delineator, May 1925. Passing a tie through a bound buttonhole in the dress was quite common in Twenties’ fashions.

This pattern was available for ladies, misses, or girls.

This young woman wears hat 5966 and carries a tennis racquet. (She’s a little distorted by being close the the binding of the book I used.)

Left, a purchased hat; right, Butterick hat 5966. May 1925, Delineator.

It’s not clear what that blue hat is trimmed with (beads? silk flower petals? felt shapes?) but it looks like you could copy it using pattern 5952 without the bow. Here is one more view of No. 5966:

Another side view of Butterick 5966 from 1925. It seems to be velvet, matching the collar and sleeves of the dress.

*** If you already use the Commercial Pattern Archive, skip this section. If you have anything to do with vintage patterns or dating vintage clothing, you need to know about CoPA!

If you have never visited the CoPA site located at the University of Rhode island, you can create a log in — it is free! — and have access to images of more than 64,000 vintage patterns, all of them dated; the envelopes/pattern layouts are photographed when possible. Pattern layouts show you the shapes of the pattern pieces…. Curious? To see a great example, create a Log-in name and password; choose the “search for pattern number” option.  Type in pattern no. “1603,” select “McCall” from the Company name pop-down list, and hit “enter.” Next, click on the archive number at the far left (in this case, it’s 1927.91, because they are archived by date: 1927.) That click will give you a color image of the pattern illustration and all of the pattern pieces. You can print it. Sizing them up into a usable pattern will be up to you…. 🙂

While you are at the CoPA site, go back to the search page and select “Complete Search.” You will see several columns of search possibilities. If you select the year 1920 and hold down the Shift key, you can select 1920 through 1929. In the next column (“Garment,”) choose “Hat.”  In the Gender column, choose “Female.” In the other columns (Keyword, Pattern Company, Collection) choose “Any.” When you click on “Search” you will see every woman’s hat pattern in the collection that is dated between 1920 and 1929, with a small image of the pattern illustration. From there, you can explore them using the Archive numbers. As you can see, 1920s’ hat patterns are rare, but some have gorgeous color illustrations!

Once you start searching CoPA, you will see the amazing possibilities of this searchable digital archive. Imagine being able to scroll though hundreds of  1920s (or 1930s, or 1960s, etc.) patterns. Pick a year, or a range of years, and get a really specific overview of that era. Costume and pattern research has never been this easy!

 

 

 

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Filed under 1920s, Accessory Patterns, Children's Vintage styles, Coats, Dating Vintage Patterns, Hats, Resources for Costumers, Sportswear, Tricks of the Costumer's Trade, Vintage Accessories, Vintage patterns

Seeing Double on a Suit from 1926

Butterick costume suit 6641 from Delineator, March 1926, p. 27.

I’ve been browsing through old magazine issues in search of Butterick hat patterns from the Twenties. This unusual suit caught my eye. The first time I saw it, that bright scarf got my attention, but fortunately, Butterick featured this suit more than once. I confess it was a less colorful illustration that first made me take a second look at the lapels.

Butterick costume suit 6641 as illustrated in February, 1926. Delineator, p. 36.

(Technically, the open collars of the dress and jacket don’t have lapels; they are simply showing the contrast lining on the revers. The collar and lining of the plaid coat also make do without additional pattern pieces. Easy Peasy!)

I do like the way the dress and jacket echo each other to give that “seeing double” effect.

Butterick costume suit 6641, Delineator, February 1926, p. 27.

Although it says this is a suit for Misses 15 to 20 years (“and small women” is usually implied,) the illustration on page 36 shows a more mature (and very tall!) woman wearing it.

Butterick suit 6641 with coat 6639, Delineator, February 1926, page 36.

Alternate views of Butterick dress and jacket 6641. The dress has a pleat at its left side.

In the charming illustration below, the models are definitely in a younger age bracket. (Sadly, I did not photograph the pattern descriptions, but I would guess these are in the early “teen” years, possibly 10 to 15.) [The proportions of illustrations for girls and misses are less elongated and more realistic than those for adult women, so these Twenties’ clothes often look more attractive to modern eyes, including mine.]

Center, Butterick costume suit 6684 , illustrated in Delineator, March 1926, p. 31.

Butterick dress and jacket combination 6684 has button closings at neck and waist, but is otherwise very similar to pattern 6641. Its pockets are decorated with embroidery.

Butterick 6684 in a very dressy version for young women. Delineator, March 1926, p. 31. [I read the fabric as velvet.]

Her hat — a tam-o’-shanter –is also made from a Butterick pattern. (For more 1920’s tams, click here and here.)

Butterick tam-o’-shanter pattern 6246, Delineator, September 1925. “For girls, children, misses or ladies.”

It would be hard to find a dress and jacket that are simpler to make, and which equal these for classic Twenties’ style.

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Filed under 1920s, Coats, Resources for Costumers, Sportswear, Vintage Accessories, Vintage patterns

In the Swim, August 1943

Pin striped swimsuit featured in Vogue, August 15, 1943.

This college issue of the American Vogue magazine passed through my hands some time ago, and, in a week of temperatures in the 90s (in a city where we expect 66 degrees in June) I didn’t want to think about any clothes but bathing suits.

Green and white striped bathing suit, Vogue, August 15, 1943.

“Blazer stripes go chevron-wise in the long torso, vertically in the skirt. Result: A look of slender height. Rayon sharkskin. About $25. Best; I. Magnin.”

I originally photographed the magazine for an eBay listing, so I apologize for the small distortions in the individual images.

The page these photos came from.

Brigance suit; it cost less than $15 in August of 1943. From Marshall Field or Lord and Taylor.

“Paintbrush stripes on the Rayon jersey bodice. Skirt, tights of rayon with “Lastex.” Brigance suit; Lord and Taylor; Marshall Field.

“Cabana stripes” on a bare midriff swimsuit. August 1943.

Cabana stripes on a Greek-drapery suit of rayon jersey. Most becoming to a sparse figure. It costs approximately $13 at Saks-Fith Avenue.”

Pin-stripes on a two piece blue bathing suit; Vogue, August 15, 1943.

Under  $4! From a distance, those string shoes look rather like she’s a ballerina.

Beach shoes in Vogue, August 15, 1943.

And her tippy-toe pose makes her legs look so looooong.

Pin striped swimsuit featured in Vogue, August 15, 1943.

 

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Filed under 1940s-1950s, Bathing Suits, Shoes, Sportswear, Swimsuits, Vintage Accessories

Capris or Pedal Pushers? Pants Vocabulary from 1971

Image from 1971 Vogue booklet Everything About Sewing Pants and Jumpsuits. Courtesy of Lynn Mally.

Lynn Mally at American Age Fashion wrote about her “find” last week: a 1971 booklet from Vogue patterns, Everything About Sewing Pants and Jumpsuits. Since I had been wondering whether my memories of vocabulary from this era were correct (or possibly just regional) I was delighted by her blog on this very topic.

I asked if I could enlarge some of the images so the labels would be easier to read. Here are the results:

Stovepipe pants and “elephant pants.” 1971.

Lynn and I agree that we wouldn’t call them “elephant pants;” I opt for “palazzo pants” and Lynn offered “just wide legged pants today.”

Straight legs and “gangster” pants. 1971.  I never called them “gangsters.” “Classic” or “forties’ trousers,” maybe.

We agree that the “gangsters” are now “Hepburn style,” with a pleat in front. Lynn quoted advice that “Even the short, curvaceous woman could look good in pants, especially if she chose straight-legged styles to add height.” I am a tall “curvaceous” woman who always searches for straight legs — by which I mean that the circumference at the ankle is not obviously smaller than the circumference at the thigh. (Costumers’ fact: 16″ is the narrowest trouser cuff a man can take off without removing his dress shoes. Does the actor make a fast change? Choose trousers for him with at least a 16″ circumference at the ankle.)

Jeans are the classic Levis worn by working cowboys and generations of young people. They are similar to stovepipe trousers. These “Hipsters” seem also to have flared legs (wider than “Boot” legs.)

I called low-waisted jeans and trousers “hip-huggers;” “hipsters” were people.

Ski pants and a bell-bottomed jumpsuit from 1971.

Those ski pants, held taut by straps under the foot, had been around since the 1950s. Stretch gabardine was becoming available. “Bell-bottom” trousers were originally copied from sailors’ pants. For a few years the U.S. Navy was right in step with women’s street wear. (Old song: “Bell-bottom trousers, coat of navy blue; he’ll go skipping up the rigging like his daddy used to do.”)

Top: Culottes or a “pantskirt;” Bottom: gaucho pants. 1971.

Culottes (aka a pantskirt) usually had pleats, like the ones shown here; when you stood with your legs straight, they appeared to be a pleated skirt, rather than a “divided skirt.” Gaucho pants didn’t have pleats, so it was obvious that they were pants. (They look like the “elephant pants,” shortened, but were not made of soft, flowing fabric. [However: see culotte pattern 5586, far below.]

Pedal pushers stop at mid-calf; Capri pants just bared the ankle area.

In 2019, we are used to seeing skintight “leggings” worn without a covering tunic blouse or dress. These tight, close-fitting Capris probably look attractive if you’re used to our current tight clothes. However, these 70s’ versions did not benefit from stretch fabrics and were usually made of poplin or another non-stretch, non-knit fabric. Mary Tyler Moore looked great in them on the Dick Van Dyke Show in the 1960s, but they were controversial.

Deck pants and knickers, 1971.

If they were cuffed and rolled up, pants (the ones  now called “cropped”) might be described as “deck pants ” or “clamdiggers.” Knickers appeared until the 1980s, although they did not flatter many figures. I only saw them worn by very young women — they were rather “costumey.”

Bermudas stopped at the knee; Jamaicas were shorter.

This was a “Preppie” fashion (“yes, we are collegiate!”) and most people called any thigh-covering shorts “Bermudas.” For perfect 1960s’ Preppie shorts, Indian Madras plaid was the favored fabric — although the real thing ran (“bled”) when washed….

“Boy shorts,” a “skort” (skirt/shorts) and “shortpants.” 1971.

“Boy shorts” were the most modest option. If you bent over while wearing a “skort” or “hotpants,” your butt cheeks showed. I owned a skort in 1971, but quickly realized that I had to wear matching dance briefs when riding a bicycle. (It had looked modest enough standing still, in the dressing room….) I never heard the word “shortpants.” These are “hot pants.” If you made your hot pants by cutting the legs off a pair of jeans and leaving the edge frayed, you had “Daisie Maes” (after the character in the Li’l Abner cartoon strip) or “Daisy Dukes” (after a character on the TV show Dukes of Hazzard.

As a sidelight: when women proved not eager to trade their mini-skirts for midi-skirts, mid-calf skirts that buttoned down the front were sometimes worn open over hot pants as a sort of compromise. Not for the office!

As I said before, fashion nomenclature is variable. A quick flip through patterns produced these:

Simplicity 6450 dated to 1966. “Hip rider bell bottoms, Slim Knee Knockers, Slim Jamaicas.”

McCall’s 5586 from 1977. Right: “culottes.” So I was wrong about culottes and gauchos. Maybe.

Simplicity 8829, dated to 1970. “Misses’ dress and pantdress in two lengths.” I’d say version 4 has straight legs and is not a dress, but a jumpsuit! I would call version 3 a “playsuit.” I owned both (store-bought) in 1970.

Butterick 6888 from 1972. Left, jumpsuit; right, evening dress with front slit.

“Fashion is Spinach.” — Elizabeth Hawes.

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Filed under 1960s-1970s, Panties knickers bloomers drawers step-ins, Resources for Costumers, Sportswear, Tricks of the Costumer's Trade, Women in Trousers

In the Swim, 1907 (Without a Skirt!)

Butterick bathing suit pattern 1245 is a one-piece, without a skirt.

This Butterick pattern from Delineator, July 1907, came as a surprise to me. “Where is the skirt illustration?” I was thinking. And then I read the text:

Pattern description, Butterick 1245, Delineator, July 1907.

This is a “swimming suit” rather than a “bathing suit.” Nice distinction!

Here is the bottom part of the description in bigger print:

The dress-like bathing suit in this story illustration [also from the July 1907 issue] is more typical (I think).

Story illustration from Delineator, July 1907. Page 56.

Love her beach shoes…. And what does his hat tell us about that character??? Looks like a college boy to me…. Or a guy who leaned forward to look in a store window and forgot he was wearing a hat. I wish I’d had time to read the story.

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Filed under 1900s to 1920s, Bathing Suits, Edwardian fashions, Hats for Men, Men's Sportswear, Shoes, Sportswear, Swimsuits, Women in Trousers

Less Familiar Designers of the 1920s: Jenny (Part 2)

Red and white tennis dress by Jenny, sketched for Delineator by Leslie Saalburg, February 1927.

Jenny in the 1920s

Jeanne Adele Bernard (married name, Jeanne Sacerdote) worked as “Jenny” — an oddly British sounding name. (There were other designers in Paris named Bernard.)  The name “Jenny” became as well known as “Georgette” or “Lucile.” She had been hugely successful in the late 1910s, and she adapted to the 1920s just as well.

Afternoon gown by Jenny, photographed by O’Doye for Delineator February 1924.

Do check out this luxurious evening coat by Jenny, sold by Carolynforbestextiles.com. Amazing 1920’s colors. Simple — but dazzling — is this mid-twenties dress from Jenny:

Evening dress by Jenny, 1925 to 1928; courtesy of the Victoria and Albert museum.

The Peabody Essex Museum has a superb Jenny evening dress circa 1926, more elaborate that the one above and photographed on a mannequin. Click here.

Jenny combined both ivory and black lace with black satin and a beaded belt on this very feminine gown, sketched for Delineator, April 1924.

What struck Delineator’s editors was the full sleeves,  “which have been neither seen nor heard of for evening for several seasons.”

Ivory lace tops the off-the-shoulder bodice [how did that work?] and peeks out from below the black lace skirt. Bare arms were standard on evening dress in 1924.

This sleeveless Jenny design from 1926 has the low armholes and bare arms expected in formal evening gowns.

Jenny’s ruffled evening frock in pink taffeta trimmed with turquoise ribbons; matching cape trimmed in turquoise ribbon and feathers. Sketch in Delineator, July 1924.

In 1924, Jenny was not afraid of the play of patterned fabrics and severely geometric details:

A three piece suit from Jenny; the cashmere printed crepe de Chine “blouse” is a tunic almost reaching the hem of the coat, which is shorter than the long gray skirt. In Delineator, April 1924.

Jenny suit, 1924. The applied trim is bands of self-fabric. See the book Classic French Fashions.

This Jenny ensemble puts a 7/8 length beige coat over a beige, rose, and green plaid dress. The plaid also trim the coat. Delineator, July 1924.

When the very narrow “tubular” silhouette came in, Jenny was ready:

Two long, narrow “tubular” coats by Jenny, illustrated in Delineator in September, 1924.

In 1925, one of Jenny’s designs was this coat and dress ensemble. Her hems were rising rapidly, but she went against the tide with this very high collar, and a dress trimmed with tiny gold buttons.

Jenny puts this green velvet coat over a dress of rose-beige crepe de Chine, trimmed with hundreds of little gold buttons. Delineator, September, 1925.

1926 shows Jenny still among the top-ranked couturiers:

Three couture ensembles from Delineator, June 1926. Jenny shows a short flared coat over a “just to the knees” dress.

Earlier in the 1920s skirts tended to be straight in back; now these are flared all the way around.

Jenny again catches the mode: a bloused top. Sketched for Delineator, September 1926.

A very bare evening dress with a flared skirt. It was orchid pink crepe satin embroidered with pink pearls. Jenny design, sketched for Delineator, January 1926.

Evening dresses by Jenny and Chanel, Sketched for Delineator, February 1927.

There are a lot of 1960s’ and 70s’ “Twenties” costume dresses out there, covered with tiers of fringe, but this is what beaded fringe looked like in the hands of a couturier like Jenny; on a pink dress, a deeper pink “fringe of crystal beads that touch it with rosy frost.”

Beaded fringe in geometric patterns on an Art Deco evening dress by Jenny, Delineator, February 1927.

Top of beaded dress, Jenny, 1927. I like the way beaded fringe partly covers the deep V neckline — it’s subtly sexy.

I’m not as impressed by every one of her 1927 creations, although closer study usually reveals a little extra creativity. (Remember these are just a tiny fraction of her output.)

Left, Jenny, for evening; right Vionnet day dress. From Delineator, August 1927.

This black and white (?) satin dress comes with a heavily sequinned black chiffon bolero. Jenny in Delineator, October 1927.

Her more tailored coats and suits really are wonderful, with many subtle touches.

One-button suit by Jenny, illustrated in Delineator, June 1927.  The button suggests “a high waistline,” the style of the 1930s, which was just starting to appear.

Lovely lines and pocket detail on the left; astrakhan (unborn lamb) is used on the collar and — unexpectedly — on the back skirt of the coat at right. [Photo distorted by the curvature of the page.]

Her very flared, collarless 1927 coat is a fore-runner of 1940s’ and fifties’ styles.

If you can ignore the scarf, this is a coat decades ahead of its time, from the “Swing” of its flare to the curved seams running into the pocket; note the curved detailing on the cuff. Illustrated for Delineator, May 1927.

It’s quite a change from the tubular coats she made in 1924! Just three years had passed.

Two long, narrow “tubular” coats by Jenny, illustrated in Delineator in September 1924.

In 1928, Delineator was still enchanted with Jenny’s flower-printed underwear, which she had been showing since 1917, or possibly earlier.

Poppy printed chemise by Jenny, in Delineator, April 1928.

In 1929, Jenny was showing asymmetrical fashions. These are dramatic and unusual.

These 1929 gowns from Jenny play with asymmetry and two-toned color schemes. Delineator‘s Paris report, November 1929.

The short satin gown is very unusual. I wish we could see all around it.

Where does the dark begin? Where does it end? What happens in the back? I don’t know.

By this time, Jenny was in her sixties. She continued making up-to-date gowns in the 1930s. Thanks to Elizabeth Handley Seymour’s desire to make and sell copies to her London clients, the V&A museum has a color sketch of a slinky, broad-shouldered Jenny gown, 1936.

Jenny was one of the couture houses that did not re-open after closing during World War II. For a time line of Jenny’s life, click here.

For French fashion illustrations of Jenny modes, visit the wonderful blog A la Recherche des Modes Perdues [lost] et Oublies [forgotten]. There is a search box and a language translator option.

[Added on 4/21/19] And one for the road: A Jenny evening dress with a complex  skirt and a high, cross-over front. It was Reseda green crepe Romain; the long ties in back gave a flattering rear view, or could be worn with one tie brought to the front.

500 jenny GH 1929 april pg 69 Jenny evening crossed front

Gown by Jenny, from Good Housekeeping, April, 1929, page 69.

The poor image quality is what happened when many magazines were converted to microfilm to save library space.

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Filed under 1920s, 1920s-1930s, Coats, evening and afternoon clothes, Slips and Petticoats, Sportswear, Underthings, Hosiery, Corsets, etc, Vintage Couture Designs, vintage photographs

In the Swim, 1914

Three bathing suits for women, Delineator, May 1914.

Three “bathing-suits” for women and one for a girl were featured in Butterick’s Delineator, May 1914. They were illustrated and described again in June, 1914.

Part of page 75, Delineator, June 1914. Headdresses/caps were included in the patterns.

In May, the text was arranged around the illustrations, which means I will have to cut and paste to fit descriptions into a 500 dpi format.  I will use the shorter descriptions from June, and put the longer ones at the bottom of the post for anyone who’s interested.

Top of page 36, Delineator, May 1914. The center bathing suit had a “peg-top” skirt.

It’s entertaining to see how the “peg-top” fashion in dresses has been translated into a bathing-suit, however impractical!

A draped, peg-top skirt, very narrow at the bottom. The silhouette was said to resemble a child’s spinning top.

Butterick bathing-suit pattern 6894, Delineator, May 1914. The skirt has a “pannier effect.” The recommended fabric was silk, not wool.

Butterick 6891 from May 1914, Delineator. Tunic tops over longer skirts were a fashion in dresses, here echoed in bathing suit.

Butterick bathing-suit 6891, alternate views; the sleeveless-topped knickerbockers would be worn under any version of the overdress. Headdress included in pattern.

Butterick 6891 description, Delineator, June 1914. “Raglan shoulders;” “knickerbockers attached to an underbody and a cap complete the costume.” In sizes from 32 to 44 inch bust.

Butterick 6912, bathing suit from May 1914. Delineator, p. 36.

Brilliantine was a lustrous fabric in 1914; later it was the name of a men’s hair dressing lotion that gave that “patent leather” shine.

Description of pattern 6912, June 1914. Delineator. “The two-piece skirt shows the peg-top silhouette which is gained by having the top wider than the lower edge. Knickerbockers attached to an underbody are worn with this costume.

It’s notable that the under garment for bathing suits was called “bloomers” in 1910, but is called “knickerbockers” for women’s bathing suits in 1914.

A bathing suit for girls was also shown in May 1914: (Its under layer is still called “bloomers.”)

Left, a romper suit. Center and right: two views of Butterick 6860 bathing-suit for girls, May 1914.

Butterick bathing-suit for girls aged 2 to 14, Delineator, June 1914. Page 75.

“Body and bloomers are in one, and the two-piece skirt need not be used if one wishes a simple swimming suit …. The bloomers may be straight or gathered at the knee with or without a frill.”

It’s interesting that girls (2 to 14) could wear this suit without a skirt — so they could actually swim. See the boys’ and men’s bathing suits from 1910.

These bathing suits would be worn with a “cap to match the suit, stockings of medium weight and canvas bathing shoes…. It is advisable to wear a close-fitting rubber cap under the bathing-cap.”

This rubber bathing cap was advertised in Ladies’ Home Journal, November 1917. Sadly, rubber degrades in storage, so vintage rubber caps are hard to find. Ad for Faultless Rubber Co.

These “In the Swim” posts were inspired by The Vintage Traveler’s bathing suit timeline. For In the Swim, 1910, click here. EDIT: Links added 4/4/19.

Full Bathing Suit Descriptions from Delineator, May 1914.

For those who want every detail, here are the longer bathing-suit descriptions which appeared in the May, 1914, issue of Delineator.

Butterick 6891 from May 1914, Delineator.

Text for Butterick 6891 from Delineator, May 1914.

Butterick 6894 from May 1914.

Text for Butterick 6894, Delineator, May 1914.

Butterick bathing-suit 6912 from May, 1914.

 

 

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Filed under 1900s to 1920s, 1910s and WW I era, Bathing Suits, Children's Vintage styles, Hosiery, Hosiery, Shoes, Sportswear, Swimsuits, Women in Trousers, World War I

In the Swim, 1910

The bloomers/under-layer and pattern variations for Butterick bathing-suit 3812; Delineator, May 1910.

Bathing suit patterns appeared in Butterick’s Delineator magazine in both May and June, so there are many images to share.

Butterick bathing suit patterns 3788, 3812, and 3839, from Delineator, May 1910, page 409.

Here, the central suit, 3812, has simple checked trim to match its pleated skirt…

Butterick bathing-suit 3812 has princess seams, a pleated skirt attached to the scalloped top, and is worn over a bodice with attached bloomers. 1910.

… but the alternate views show it with optional embroidery or soutache braid trim, or looking like a double breasted coat. The under layer also shows square, rounded, or high neckline variations as dotted lines:

The under-layer and two more “looks” for bathing suit 3812. 1910.

“Princess effect… exceptionally graceful model … the short sleeves …are more practical for the swimmer.” [No kidding!] Apparently the bloomers alone could be made from 2 yards of 36 inch material, with another 7/8 yard of a different material for the under-body/under bodice.

These four 1910 patterns include a skirt over bloomers with a bodice, and dresses over bloomers, with or without an under-bodice.

Bathing suit 3788 is gathered to a yoke.

Butterick 3788, a bathing suit from Delineator, May 1910,  p. 409.

Butterick 3788 is a separate skirt worn over a bodice with bloomers attached. May 1910. “Absolute comfort….”

The bloomers for Butterick 3839 are not attached to a bodice — they have their own waistband.

Butterick bathing-suit 3839 from Delineator, May 1910. The side closing gives “the popular Russian effect.”

Butterick 3839 is a dress over separate bloomers. Delineator, May 1910. The pleats on the skirt are top-stitched.

In June, Delineator showed a fourth bathing-suit for women (3925) and a bathing suit for men or boys (3870.) Men got to wear a lot less, while women who actually tried to swim were in danger of sinking under the weight of all that fabric.

Butterick bathing suit 3925 from Delineator, June 1910, p. 521. It was worn with bloomers, rolled stockings, and beach shoes tied like ballet slippers.

At right, you can see the bloomers peeking out from under the skirt of Butterick 3925. June, 1910. According to Delineator, American women preferred the bare-necked version of the sailor collar.

“This is the kind of bathing-suit (3925) which will appeal to a great many women, both those who go into the water for the real sport of the thing, and those who spend hours on the beach sitting around or promenading up and down…. The cord or belt which is fastened around the waist gives the effect of a blouse and short skirt…. Our English cousins favor the long sleeve and high neck when in bathing and so use the shield with the high collar. Here in America, however, women usually prefer a slightly open neck and either puff sleeves or just sleeve caps. The separate bloomers are arranged to be made with bands or elastics at the lower part. Flannel [i.e., wool flannel,] mohair, serge and taffeta are the best material for bathing suits….” [Butterick patterns were also sold in England.]

Men, on the other hand, wore one layer of fabric and no sleeves:

Butterick 3870, a bathing suit pattern in either men’s or boys’ sizes. Delineator, June 1910, page 516.

The CF placket closing would hide buttons, not a zipper. The fabric could be flannel (nice, water-absorbing wool) or “Stockinget [sic]” or serge. A wet, knit suit with no lining would be quite revealing when wet. Men and boys had long been accustomed to swimming in the nude, so this simple, often sleeveless bathing suit was a concession to mixed bathing.

Swimming was first included in the Olympics in 1896, but has only been open to women since 1912.” Think about competitive swimming in a water-logged wool swimsuit! (Kind of like swimming in a cardigan sweater….) What’s that saying about “everything a woman does must be done twice as well…?”

The Vintage Traveler is making a Timeline of Bathing Suits. Click here. (And try to imagine just staying afloat in those Victorian ones!)

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Filed under 1900s to 1920s, 1910s and WW I era, Bathing Suits, Boys' Clothing, Children's Vintage styles, Edwardian fashions, Hats, Hosiery, Hosiery, Men's Sportswear, Menswear, Sportswear, Swimsuits, Women in Trousers

April 1928 Ad for Belding’s Silks

Part of an ad for Belding’s “Pure Dye” Silks, Delineator, April 1928.

I don’t have a picture of the entire page, but this ad interested me because it shows dress patterns from several companies:  Vogue, McCall, Butterick and Pictorial Review. It also shows a range of women’s styles for 1928, and it shows the cost of the fabric to make them.

Belding’s “Pure Dye” silk was not weighted “or in any way adulterated” to make it seem more substantial than it was. In other words, this was not the cheapest silk fabric available. In fact, at $3 to $6+ per yard, it was relatively expensive.***

(The Belding Brothers of Michigan established a successful business manufacturing silk thread and silk fabrics, with factories in four states.  They also built housing to attract the best female employees, as well as libraries and a hospital for their workers. “Belding Brothers & Company merged with Heminway Silk Company in 1925 and did business as Belding-Heminway. Soon after, the company was acquired by Corticelli Silk Company and did business as Belding-Heminway-Corticelli. The last mill in Belding closed in 1932.” This 1928 ad also mentions Belding’s silk stockings.

Butterick 1904 was featured in the ad; here it is shown in striped silk.

The Butterick Publishing Co. illustrated it in a different fabric in Delineator magazine:

Butterick 1904 made in dotted fabric. Delineator, June 1928. a “frock for mornings or sports” in sizes from 32 to 48 inch bust.

McCall pattern 5168 in Belding’s Silk ad, Delineator, April 1928. This 100% “radium weave” pure silk was washable “Vanette.”

(“Radium silk” was not radioactive.)

Butterick pattern 1906, Belding’s Silk Ad; Delineator, April 1928. “Simple crepe frocks like this have a smartness that belies their small price.” This is made of Belding’s Crepe Iris, “guaranteed washable crepe.”

This Art Deco (or Moderne) dress doesn’t strike me as especially “simple” to make; I love its geometry (“plaits in an architectural outline,”) but I’d be tempted to hire a “little dressmaker” to deal with all those interlocking pieces.

Butterick’s own illustration of dress 1906, from Delineator, March 1928.

This dress is more formal, with a jeweled “buckle” centered on the hip yoke, and a draped neckline.

Another McCall pattern, 5157. Belding’s Silk ad, Delineator, April 1928. This afternoon frock was made in Belding’s “Satin Ciree.”

Top center in the ad was this jacket and dress combination made from Vogue patterns. The plaid dress is topped with a plaid scarf — not an easy combo to bring off well!

Vogue jacket 9273 is combined with Vogue dress 9261. Belding’s ad, April 1928. The “sport silk” fabrics are “Washable Broadcloth” and “Crepe Cashmere” for the jacket — “heavy enough to tailor crisply.”

Pictorial Review pattern 4229, Belding’s ad, Delineator, April 1928. The asymmetrical dress has a soft jabot/drape running down the bodice.

The relatively simple dress is made of Belding’s silk printed crepe “in a distinctive modern design — a summery pattern suggesting the lovely modernism of Paris.” (The “Style Moderne,” which we also call “Art Deco,” was introduced at the Paris Expo of 1925  (Exposition internationale des arts décoratifs et industriels modernes)

This classic 1920’s evening dress is Vogue pattern S 3191.

It is sleeveless, with low armholes; a surplice closing (thought to be slenderizing;) an under layer seen at the neck opening; and a big bow forming a side drape. At first I thought it had a (very unexpected) short sleeve, but a close view shows that the model is wearing an arm bracelet, along with two necklaces and very long dangling earrings.

Detail of jewelry in the Belding’s ad illustration. 1928. Note the low armhole.

The next gown is surprisingly bare:

Pictorial review pattern 4159 is an evening dress made in sheer silk Georgette. Belding’s ad, Delineator, April 1928.

This gown is notable for its narrow jeweled straps and its asymmetric shoulder (or neck) line.

A woman really could not wear much underwear under this dress — just knickers and stockings. (And maybe a girdle….)

Details of the diagonal neckline and shoulder straps of Pictorial Review evening pattern 4159.

Georgette is usually a sheer fabric, so this dress is probably built over a straight, opaque silk lining, which would also support the blousing and hip decoration. That neckline would still be worth copying, if you have the figure for it!

*** The Sears catalog (Fall 1928) offered washable silk satin yardage for 74 cents a yard.

Washable silk satin from Sears, 1928.

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Filed under 1920s, 1920s-1930s, evening and afternoon clothes, Hosiery, Hosiery, Jewelry, Old Advertisements & Popular Culture, Sportswear, Vintage patterns, Vintage Styles in Larger Sizes