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Hot Lips Cigarette Lighter, December 1930

The Hot Lips electric cigarette lighter — perfect for Christmas, 1930. Ad from Delineator, December 1930.

Part of the pleasure of reading vintage magazines is the advertisements I find. This ad ran from the top of the page to the bottom, so I have broken it into segments for legibility.
Here, from 1930, is a Christmas gift you might actually encounter at an antiques fair:

Top of ad. “The liquid, graceful beauty of this sculptured head will enhance your library table.” — It must be a high class item, huh?

Bottom of ad for a Townsend-Wulff, Inc. Hot Lips electric cigarette lighter. Delineator, December 1930, p. 91.

It looks like the button is on the back of her neck, so you just put your hand around her neck to pick her up and turn her on…. “Perfect prize for bridge tournaments and golf tournaments.”

In 1930, ten dollars was not cheap.

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Postcard #2 from My Vacation at the Library

Three fashions for daytime, Delineator magazine, March 1929, page 29. They have characteristic dropped waists, a horizontal line across the hip, and hems that barely cover the knee.

Less than a year later:

Fashions for daytime, Delineator magazine, January 1930. Butterick 3007 and 2984, on sale in January 1930, demonstrate the transition from 1920s to 1930s.

It’s obvious that by January 1930, the change from the low-waisted, short-skirted 1920’s silhouette was already well under way.
At a first glance, these suits do have a 1920’s look, but the return to the natural waistline and the move toward longer hems which they demonstrate is also illustrated on this catalog cover.

Ad for Butterick Quarterly from Delineator, January 1930, p 76.

It’s remarkable, when you consider the lead time for creating sewing patterns and for magazine publication: The design has to be approved, made into a prototype (muslin) and patterned,  made up in fabric, modeled for the illustrators, “graded” up and down to a full range of sizes, and set into mass production before being issued and publicized in magazines, etc. This suit was not designed in January 1930, but several months earlier.

Butterick 2984 took months to develop and have ready for sale in January of 1930.

It looks very much like the popular cardigan-jacketed suit of the Twenties, complete with a long neck tie, but the skirt has a natural waist and a seam line at the familiar 1920’s hipline. The jacket is long, falling well past that old hip-level design line, and the skirt falls three or four inches below the knee.

Butterick Quarterly cover, January 1930. Suit 2984 is on the right, and is shown in a different illustration below..

Butterick 3007 (L) and 2984 (R) from January 1930. No. 3007 has a low hip seam and unstructured bodice that allows the wearer to put the belt where she likes.

Two other observations: The three-quarter length coat was a popular 1930 option, and in 1930, a “sleeveless” dress really was sleeveless.

I’ve been curious about the transition from 1920s to 1930s; apparently it happened very fast!

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Ninety Years Ago: Fashions from January 1928

Butterick coat pattern 1836 and dress pattern 1798, January 1928, Delineator magazine. (Probably not for the novice dressmaker….)

I have written about Butterick patterns from Delineator, January 1928, before — this group is from pages that have smaller illustrations, so the photo quality is not as good. Nevertheless, there are some amazing styles, like this Art Deco influenced coat and dress. For other wonderful fashions from Delineator‘s January 1928 issue, see “Forecast Wardrobe” and “Summer in January.”

Here are a dozen dressy patterns for women and teens. First, “afternoon” dresses, for formal events, dinners, and tea dances.

Butterick afternoon dress 1796, Delineator, January 1928, page 34. She holds her clutch bag under her arm while adjusting her gloves.

The flounces do not go all around the dress:

Left, an alternate view of dress 1796, with coat 1836, center, and a dressy combination: Blouse 1782 with skirt 1808.

Butterick coat 1835. The points of the diamond on the back of the coat meet in center front (shown in alternate view, above.)

Another great Art Deco coat with geometric applied trim was shown in the book, Classic French Fashions, which I reviewed here:

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This afternoon dress is really a practical skirt and blouse combination, Butterick blouse 1782 and skirt 1808. Delineator, p. 34. January, 1928. The top and skirt could be paired with others, in different colors, like the afternoon skirt and blouse combination shown below.

I was surprised the first time I saw a wrap skirt pattern from the twenties. Click here for a 1927 wrap skirt copied from Vionnet. An second “afternoon” skirt and blouse outfit also appeared on page 34:

A simple twenties’ blouse is combined with a top-stitched skirt and a fox stole. Butterick 1778 with skirt 1839, from January 1928. There is a chenille pom-pom/flower on her shoulder.

Hips measuring 47.5 inches were part of the normal size range of Butterick pattterns in 1928, whatever we may hear about the important “boyish look.”

Butterick afternoon dress 1823, Delineator, January 1928, p. 34.

Butterick afternoon dress pattern 1802, Delineator, January 1928, p. 34. Although the fabric is a print, the long side drape on this surplice dress makes it too formal for casual or office wear.

It was common for nineteen twenties dresses to have elaborate fronts and simple backs:

Alternate views of afternoon dresses from Butterick, January 1928. These views show less formal hemlines without dipping draperies, and long or short sleeve options.

The facing page, page 35, showed Butterick patterns for evening:

Butterick evening dress 1801 has long fringe on the skirt and on the shawl. Delineator, January 1928, page 35. The complex bodice would be interesting enough without the shawl, which seems to have had two pattern options, as a scarf or a shawl.

Butterick evening gown 1806 has fluttering draperies and a deep V in front, revealing a contrasting “vestee” (under bodice.) January, 1928. This pattern could be purchased up to size 46!

Butterick 1807 has surplice lines and a side drape that flows from pleats [or gathering] below the knot. 1928. Delineator recommended this style for “women with small hips….” It wasn’t available in large sizes.

Butterick evening dress 1838, another surplice style from 1928.

It’s hard to distinguish a picot edge from a line of beads in drawings this small. The neckline is bordered with rhinestones, but the flying panels may have a picot edge or they may be illustrated as having self-colored beads spaced about a quarter of an inch apart along the hemmed edges.

Alternate views of Butterick 1806, showing the back tie drapery; dress 1838 with a flowing panel that is either beaded or picot hemmed; and coat 1804, which has an interesting yoke and pleated (?) back, much more interesting than its front view.

Dress 1838 is shown under coat 1804; the fact that the uneven hems and long panels on dresses hung out below the bottom of women’s coats apparently didn’t look sloppy to 1920’s eyes. (Just as a later generation came to accept visible bras and bra straps….)

Butterick evening wrap 1804 is a very typical Twenties’ style. [I guess women learned how to juggle both a clutch purse and a coat that had to be held closed with one hand, even while getting out of a car. It’s not easy to do with one arm clamped against your body and the other controlling your coat! Evening purses could have slender straps, of course.]

Butterick evening dress 1841, from 1928. Scalloped hems that dipped low in back were frequently featured on Butterick patterns in the Twenties. They were often recommended for younger women. This pattern was only available for “14 to 20 years” and maximum bust size 38″.

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Butterick patterns for young women, Sept. 1926. Number 7047, left, and 7063, right. In this case, the skirt was lined with a different color, which matched the stockings.

However, some dresses for teens (and small women) were more sophisticated.

Two evening dresses for “15 to 20 years,” Delineator, January 1928; Butterick 1791 and 1795. The one on the left is beaded. The other is made of “transparent velvet.” Dresses for teens and small women were usually shorter than other dress patterns.

Crepe satin is matte on one side and shiny on the other. Using the two textures in the same color was very popular in Deco-influenced Twenties’ dresses.

And there’s nothing babyish about this sleek dress:

A dress for teens and small women; Butterick pattern 1798. From Delineator, January 1928, page 36. Those parallel curves and points remind me of the Chrysler Building turned upside down.

I began this post with this dress, so this image seems like a good place to end. As we used to say back in the fifties, when movies played continuously and movie-goers came and went throughout the screening: “This is where I came in!”

 

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A Small Vacation

My computer crashed spectacularly last night. Perhaps I do need a week or two off…. Like it or not. So, I’ll take this opportunity to wish everyone a joyous holiday season and a happy and peaceful 2018. Cheers!

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Just Because It Made Me Laugh

From an ad for Nature’s Remedy tablets, Delineator, January 1935.

I try to resist reading all the ads in Delineator — I still have hundreds of copies to go. But sometimes an ad that has nothing to do with fashion catches my eye — Like this constipated bride.

So did this one …

Ad from Delineator, March 1937. Courtesy Remembered Summers.

… especially when I realized it was from the American Frog Canning Company. Things got so bad during the Depression that my father even tried panning for gold. But he didn’t invest in this scheme for getting canned frog legs on the dinner table in every American home.

Sorry I don’t have a photo of the complete Nature’s Remedy ad, just this much:

 

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Animal Prints and Sheer Yokes, 1927

This classic twenties’ cardigan outfit caught my eye because of its animal print (or fur) accessories. Butterick pattern 1345, from March 1927.

To the author of the AllWays in Fashion blog, who just wrote “it’s clear many of our old friends are returning for another stylish go-round:” this one’s for you! Synchronicity at work.

I’m not in favor of wearing real fur, but I have to admit that the belt and matching clutch purse really jazz up this basic cardigan and pleated skirt costume. I don’t know if the matching shoes came from the illustrator’s imagination or were really in the stock at Butterick’s art department. (I sometimes see the same hat illustrated with several dresses in an issue of Delineator.)

I found the other outfits illustrated with Butterick 1345 less iconic, although 1349 is also classic. Both have skirts with pleats only on the front.

Alternate view and description of Butterick 1349, from 1927.  Surprisingly, it’s described as a “jumper frock,” not a suit or ensemble, although the pattern in the Commercial Pattern Archive says it is a “two-piece frock.”

No. 1349 is third from left below.

Four Butterick patterns from Delineator, March 1927, page 23. From left, 1345, 1297, “jumper frock” 1349, and 1347, called a “bosom front” dress.

In the same issue I found two dresses with an unusual yoke; sheer fabrics were suggested for daytime, which probably means they were afternoon dresses.

Butterick patterns for a box coat (No. 1304), worn over a dress with sheer yoke and box pleated skirt (1337;) third is dress pattern 1335, followed by another sheer-yoked dress, Butterick 1331. Delineator, March 1927, page 22.

Box jacket 1304 over dress 1337. The very simple jacket is accented with dark applied trim. At right, the dress (1337) is illustrated in crepe silk, with a yoke of sheer Georgette, a crepe-like sheer fabric.

Alternate views and text describing Butterick 1304 and 1337. To create a suit-like ensemble,  dress 1337 is made using matching fabrics for jacket and dress. From 1927. It was common for 1920’s dresses to have all the fullness in front, with a straight back.

Butterick 1337, bolero dress 1335, and 1331. Delineator, March 1927, p. 22. The dresses right and left are formal day dresses, and the one at right could be made in a sleeveless evening version.

Alternate views and descriptions of Butterick 1335 with “simulated bolero” (in the center)  and yoked dress 1331. (For a “bolero” topped evening gown by Chanel, click here.)

Butterick 1337 and 1331, from 1927. The treatment of the armholes is different, but the yokes are otherwise similar: curved, and low on the sides. They would have been worn over a slip or teddy/combination, so the sheer bodice would have something opaque covering the sides of the breasts.

All the models in these 1927 illustrations have severely shingled hair. Here’s some shingle haircut advice from 1925.

 

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Formal Styles for October, 1926

Afternoon dresses for formal day-time occasions; Butterick 1016 (for “the social butterfly”) came in very large sizes;  7079 is for formal afternoon events, dinners, theater, etc. From Delineator, October 1926.

“1016 — Paris meets the formal demands of Autumn and Winter with frocks suitable for weddings and receptions, for luncheons, tea and bridge. The cut rather than the fabric makes the difference in this mode, for satin crepe, crepe de Chine and crepe meteor are used for simple dresses as well as for the social butterfly shown at the left.  Satin crepe is used for the body and straight skirt and its reverse side for the collar and one-piece slip. The other materials area smart in two shades of the same color or in two harmonizing colors. Georgette and silk voile make charming frocks over matching slips of taffeta or satin…. The collar makes it becoming for women from 36 to 52 bust.” — Delineator, Oct. 1926,  p. 43.

The matte side of the double-sided crepe satin is shown as a lighter color; the shiny side on the lapel, slip and sleeves is shown as a darker color.

Butterick 1016, on the left, was available for women in sizes up to 52 inch bust measure. Pattern no. 7079 came in the standard range of sizes:  32 to 44 inch bust measure. Hems — even for older women — are at the bottom of the knee.

“7079 — One for every wardrobe should be the ruling for the type of one-piece frock illustrated at the right. Its circular frills and smart sleeve make it what the French dressmaker calls a dinner frock. It leads a double life of great usefulness, for it takes care of all afternoon engagements and answers for small, informal dinners, the theater, and nightlife on an ocean  liner. Chanel red — a dark peony color — in Georgette with the flower of ribbon in the same color, silk voile in string beige with the flowers of lemon and silver ribbon, fern-green moire, black Georgette with jade, with almond, with royal blue or flesh are excellent day and night colors. The lower edge measures about 44 inches…. The style is extremely becoming to women from 32 to 44 bust.” — Delineator, Oct. 1926,  p. 43.

This dress is for “informal dinners” or afternoon wear because it has sleeves. Evening gowns had deeper necklines, no sleeves, and deeper-cut armholes than formal day dresses. The ribbon pom-pom at the shoulder is apparently an important part of the dress. A very long necklace creates a flattering vertical line, although this dress does not have a hip band.

Beaded evening gowns were appropriate for very formal wear, and a truly determined woman could make her own:

Butterick frock pattern 1048 could be made to resemble this illustration if you also used Butterick embroidery and beading transfer 10481. Delineator, Oct. 1926. An alternate view shows it with sleeves and a higher neckline.

There is a copy of this pattern in the Commercial Pattern Archive, which shows the neck and sleeve differences. Some readers have commented that Butterick patterns from the 1920’s and 1930’s often seem much too difficult for a woman to make herself. In fact, since they were aimed at upper-middle-class women, many Butterick patterns must have been made by a professional seamstress, “the little dressmaker” who existed in almost every town. In the case of Butterick 1048, with all that hand beading, the customer was asking a lot!

This lace frock, Butterick 1043, is less formal than a beaded frock, but still very elegant, and more versatile. Delineator, Oct. 1926. It has a trailing “wing cascade” and is ornamented with a fake-flower pom-pom, probably of feathers, velvet, or silk chenille. Notice the bangle worn on her upper arm.

Butterick’s dolman evening coat 7084, in metallic brocade, is shown with Butterick evening dress 1041. Delineator, October 1926. In the twenties, bits of dress were often seen peeking out from the coat’s hem.

Right,Butterick evening frock 1041, October 1926, Delineator. The dress seems to be made of metallic moire, with sheer chiffon panels which have picot edges.

Alternate views of coat 7084 and frocks 1041, 1048, and 1043. Butterick patterns from October 1926. Here, 1041 is shown in an afternoon version, with sleeves and higher neckline.

A picot hem can be faked with a ziz-zag stitch. Sew Historically wrote about how picot hems were done in the 1920’s and also provides a tutorial on faking them with a modern sewing machine. [Note: Always allow your reproduction chiffon dress to hang for several days before finalizing its hem. Chiffon on the bias will stretch … a lot! Gee, I wonder if all those irregular, drooping-hem fashions of the twenties were making a virtue out of necessity….]

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