Category Archives: Vintage Accessories

Part 2: Butterick Fashions in Color, September 1920

Big hats with a varied dress silhouette; Butterick patterns from Delineator, September 1920. These patterns are from page 96.

1920 was a year when fashions were in transition from the wide hipped “tonneau” skirts of the late teens to the narrow silhouette of the later 1920s.

Left, a “tonneau” or barrel skirt (Butterick skirt 9064.)

Traces of this 1917 silhouette could still be seen in 1920:

Left, Butterick 2572 has a slenderizing opening down the front, revealing a colorful panel; right, Butterick 2560 has a side closing and a hipline that foreshadows the later 1920s.

A hat trimmed with monkey fur; fitted sleeves that cover part of the hand. Looking wider at the hip than the shoulder was not unusual. Butterick 2572.

“The broad sash widens the waistline….” The “vestee” revealed in down the middle is as long as the rest of the garment.

This dress would not make a woman’s hips look slender…. Butterick 2560.

(And the fashion for low busts — even on very young women — always makes me ask, “How is that possible?” Bust flatteners were available in 1920. )

Butterick 2582 is another surplice (or side) closing dress. Another “waist widening” sash effect.

Butterick 2580 from September, 1920.

This over dress ends several inches above the underskirt/satin slip.

Like many other dresses in the September issue, a muted coral or spice-brown red is used.

Left, Butterick 2602 is an embroidered dress with an oriental hem.

For autumn, an enormous brown hat is worn with this gold-ish dress.

The “oriental hem” is gathered to an inner lining.

If the bodice was made of a sheer material, the lining might have a “camisole top” with narrow straps instead of a full lining.

Perhaps it’s a good thing to be reminded that there have been eras when no woman ever asked, “Does this dress make my butt look big?”

 

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Filed under 1920s, bags, Hats, Hats and Millinery, Vintage Styles in Larger Sizes

Butterick Fashions in Color, September 1920 (Part 1)

An unusual style from September 1920. Unfortunately printed off-register, but still interesting.

I feel the need for some color today, so I’m visiting Delineator magazine from September, 1920. As often happens, I’m struck by the 1920s’ color combinations. Not to mention the hats!

Butterick 2584 from September 1920, Delineator, page 96.

I may have shared some of these before — especially the “Oriental Hem” patterns.

Embroidery and fur add to the appeal of these costumes. Delineator, September 1920, page 95. Left, dress 2557 has a blouse effect. The waist is pulled in by elastic.

Right, 2577 has shorter panels over its long skirt. Long necklaces were worn.

A gray hat accents this embroidered dress in an autumnal muted red.

The draped side panels are inserted into the side seam. Butterick 2600 from September 1920.

There were many ways to make these side draperies, called “cascades.”

This long, slim, pleated dress appeals to me. Butterick 2571. The “non button” buttonholes are an odd touch. With the hem raised to just below the knee, this one could still have been worn in the later 1920s.

The same couldn’t be said for the wide-hipped dresses on the same page:

Butterick 2597 was not a style that lasted much longer. September 1920.

These deep pockets were not new in 1920.

Pockets were used to exaggerate the width of women's hips, in French designer fashions and in home sewing patterns. Bothe from Delineator, 1917.

Left, couture; right, home sewing pattern. Both illustrations from Delineator, 1917.

Sheer sleeves and overskirt combine in this afternoon dress.

Butterick 2573 is an afternoon dress. Click here for more Oriental effect [aka “harem”] skirts.

If you want to read entire Delineator magazines from 1920, you’ll find them, digitized by Google, at HathiTrust.org. Click here for volumes 96 and 97.

In Part 2, I’ll show color illustrations from September, 1920, page 96.

More 1920 fashions in color to come! (Yes, I’m afraid that really looks like a monkey fur hat on the left….)

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Filed under 1920s, Gloves, Hats, Hats and Millinery

Pleated Hats, 1920

Fashion illustration from Delineator, Sepember 1920.

I was browsing through my 1920 images, trying to find something bright and colorful — but, as often happens, I got sidetracked.

Apparently, the studio where Butterick pattern illustrations were done had a supply of pleated hats in 1920. Here are a few:

A hat with large pleats, Delineator, February 1920.

A hat gloriously pleated and adorned with roses. March, 1920.

Here’s the blouse worn with the first hat I featured. (This hat also had a flower on the pleats.)

Pleated hat with Butterick blouse 2619. September 1920.

Just to prove these hats existed…

Movie star Bebe Daniels looks world-weary in her pleated hat. February 1920, Delineator.

This one looks like a pleated tam-o-shanter:

Delineator, December 1920.

Big pleats, high fashion expression. Delineator, February 1920. (Look at that hand, too.)

The charm of 100 years ago…. For a refreshing visit to 1920, see Mary Grace McGeehan’s terrific blog, My Life 100 Years Ago.

 

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Filed under 1920s, Hats, Hats and Millinery, Vintage Accessories

Two Butterick Hat Patterns from 1926

Butterick hat pattern 6810, May 1926, Delineator.

Butterick turban pattern 6634 from Delineator, February 1926.

Usually, Butterick would feature its hat patterns repeatedly, showing the Butterick hats in Delineator pattern illustrations over several months, worn with a variety of other Butterick patterns.  I was surprised by how often this turban (6634) appeared, and how few times the six gored cloche (6810) was shown.

Hat 6810 was shown with a coat and dress ensemble in May, 1926.

Here, it seems to be made of one dark material and one lighter material, or one shiny and one matte. The band-like brim turns up and is tied at the side back.

Butterick hat pattern 6810, May 1926, Delineator.

The two tone effect could be subtle, the result of using a ribbed fabric like faille with the grain running either up and down or crosswise, as in another cloche hat from Butterick:

Butterick cloche hat pattern 5952 from 1925.

(I am surprised how many cloche hat patterns for home stitchers were available.  Click here to see two from 1925. Here’s one, with trim variations, from 1924. Butterick 5128 was shown with many trim variations — which could be adapted for any simple cloche hat you buy, if you’d rather not make a gored hat pattern.

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This trim is just strips of grosgrain ribbon woven together. Circa 1924.

Back to hat 6810 from 1926:

Left: here Butterick hat 6810 was made in one shiny, solid-colored fabric to match a sheer green georgette dress. 1926.

Turban pattern 6634, on the other hand, was illustrated many times.

Butterick turban pattern 6634, from Delineator, February 1926.

The turban is worn by two models in this illustration.

Left and right, Turban 6634. The hat in the middle is not 6810.

What to wear with your turban. These clothing patterns are in the normal ladies’ size range: bust 32 to 44 inches.

Left, turban 6634 on a page of “Paris Patterns.” March 1926. The commercially made cloche on the right is nearly brimless.

Not all fashion drawing is perfect…. but this shows turban 6634 with a matching gray ensemble of cape and dress.

Turban 6634 with cape 6618  and dress 6642.

The same dress (6642) was featured on another page, without the cape or turban. The turban (right) topped a different dress.

Right, turban 6634. Delineator, March 1926. (“Jewel” placement could vary to taste.)

Butterick patterns, Delineator, March 1926, page 34. Left is dress 6642 again. The other dresses use border prints.

I think of turbans as aging, rather than youthful, since they can cover the hair completely. But these 1926 fashions are not necessarily for older or stouter women; they are in the normal size range, and the turban pattern itself was “for ladies and misses [ages 14 to 20.]” And there is usually a glimpse of hair at the cheek.

A glimpse of hair softened the turban look.

Those two dresses on the right above make clever use of border prints:

Left, a dress with its own light coat, worn open. This used to be called a “redingote” style, and it’s flattering to women who feel they aren’t thin enough to wear authentic 1920s’ styles.

But turban 6634 was also shown on patterns for the stout: Dress sizes up to 52 inch bust.

Turban 6635 was shown on this page of fashions for large or stout women, Delineator, March 1926, page 36. Left: Note the clever tucks giving fullness over the bust.

Again, turban 6634 worn with a large size dress pattern. May, 1926.

Butterick turban pattern 6634 from Delineator, February 1926.

The turban is always shown with some kind of pins or buttons as decoration; they could be placed to suit the wearer.

Tying the turban. Right: Dead fox optional.

witness2fashion: One of the disadvantages of attending church in the 1950s was the possibility of sitting behind a woman wearing a fox stole, with its literally beady eyes — made of glass — reproaching you throughout the service.

 

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Filed under 1920s, Accessory Patterns, Hairstyles, Hats, Hats and Millinery, Vintage Styles in Larger Sizes

Early Thirties’ Hats & Patterns

This big-brimmed hat was shown on the cover of Delineator, August 1930. Illustrated by Dynevor Rhys. It may be based on Butterick pattern 3816, shown later in this post.

The transition from 1920s to 1930s was more gradual in hats than in dresses. The cloche was still around, but tiny hats and huge hats were also featured.

Five different hat styles appeared on the same page in Delineator, August 1930.

Above, Hat B is a familiar cloche, Hat C clings very tightly to the head, Hats A and D have wide brims, and Hat E is cut away in front, with most of the brim at sides and back.

You would expect these wide brims in summer; August 1930.

By summer of 1930, the natural waist is everywhere.

Delineator cover for June 1930. Detail.

I find 1930 hats with a pleated brim very attractive:

Left, a medium-width pleated brim. August 1930.

Another pleated brim from August 1930.

Wide-brimmed hats were especially seen with afternoon dresses:

A long, formal afternoon dress is topped with a very wide brim. August 1930. You can imagine this woman is a guest at a wedding.

Another afternoon ensemble; Delineator cover, June 1930.

This socialite was photographed in an afternoon dress by Paquin and a Reboux hat with unusual brim. Delineator, August 1930. Click here for another asymmetrical Reboux hat dated 1928.

However, wide brims were also worn for sun protection with casual dresses and even pajamas:

Fashion editorial illustrations; Delineator, May 1930.

Detail from a Delineator cover, February 1931. Thanks to Lynn at Americanagefashion.com for this image! [Thong shoes!]

Butterick offered this versatile hat pattern in 1931.

Butterick pattern 3816 for hats with and without a brim. Delineator, April 1931.

The one second from left doesn’t have a brim, just a “binding.”

Butterick hat patttern 3816; back view of two versions.

This pattern is also in the collection of the Commercial Pattern Archive.

Butterick 3816 image from pattern envelope. CoPA.

The version at lower left resembles the hat featured on the August 1930 Delineator cover.

Very similar to Butterick 3816, but with added trim inside and outside the hat.

The shapes of the pattern pieces for Butterick 3816, courtesy of CoPA.

Once you create a log-in for the Commercial Pattern Archive, you have free access to this and other patterns.

McCall hat pattern 1879 from 1931. CoPA archive.

Pattern pieces for McCall 1879, a hat from 1931.

This beautiful hat from the CoPA collection dates back to 1924:

McCall pattern 1362 envelope illustration, courtesy of Commercial Pattern Archive.

It shouldn’t be too difficult to copy those flowers and add them to a purchased straw hat!

A big hat was still appropriate for summer in 1933:

 

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Filed under 1920s-1930s, 1930s, Accessory Patterns, Hats, Hats and Millinery, Resources for Costumers, Vintage Couture Designs, Women in Trousers

Seamless Stockings in 1930

Seamed stockings from Sears, Roebuck catalog, 1939.

Every costume design job is an opportunity to do more research, but there are some things that are just part of your general knowledge. For example, when I was hired to costume a college production of Brighton Beach Memoirs, which takes place in 1937, I automatically put the adult female characters in seamed stockings.

I was surprised recently when I came across this image from 1930:

Seamless stockings could be purchased at department stores in 1930! This image is from Delineator, May 1930.

I simply hadn’t come across this information before, so I checked another source: the Sears, Roebuck catalogs. There they were:

“No-Seam” hosiery for women, Sears Roebuck catalog, Fall 1930, p. 171.

No-Seam stockings text, Sears catalog, Fall 1930.

And another source….

From a fashion editorial about accessories, Delineator, September 1930.

There are some typos in the original text, as you can see, but corrected, it says, “I made a new discovery a few days ago — stockings needn’t have seams in order to fit. You may remember the old seamless stockings … which went into Grecian drapery at the ankles after their first contact with soap and water. The new Guildmode hose is knitted in a special way so that it fits just as snugly as a full fashioned stocking. It is dull [matte] and very sheer.”

“Full-fashioned” meant stockings which were shaped like the outline of a leg, curving in at the ankle, and gradually curving out over the calf area.

Before stretchier knits became available, the seam at the back was necessary for a good fit. Full-fashioned stocking illustration from Sears, 1958.

A short history: Knitted stockings have been around for hundreds of years. The simple knitted tube naturally stretched — somewhat — to the shape of the leg, but a seam up the back permitted a closer fit.  As stockings became more sheer (and more visible under short skirts) in the Nineteen Twenties, women became aware of the way the vertical seam up the back created a slenderizing line on their legs.

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Gordon Hosiery ads from Delineator, Nov. 1928 through May 1929.

Seams and pointed heels made these stockings flattering. Sears, Fall of 1939.

“Notice how they follow the natural shadows of the ankle — to give you slenderness and grace.”

Skirt hems went down and then up again in the Nineteen Thirties, but seamed stockings were so much a part of normal dress that women couldn’t give up that seam line even when silk or nylon stockings became unavailable during World War II.

There were no nylon or silk stockings available from Sears in 1944 because nylon and silk were needed for the war. Sears catalog index, Spring 1944.

In Spring of 1945, before the War ended,  Sears offered these un-glamourous cotton stockings. Three pairs were guaranteed to last you three months. (I.e., you would have two wearable stockings left.)

But, back to the Thirties:

Chiffon [sheer] and Service Weight stockings from Sears, Fall 1930.

Seamed rayon stockings from Sears, Fall 1930. Rayon, a synthetic fabric based on cellulose, was cheaper than silk.

At the first dress rehearsal of Brighton Beach Memoirs, the director knelt down beside my chair and whispered, “Are those seams on their stockings?” He was clearly delighted. I whispered back, “Well, stockings with seams are too expensive for our budget,** so I taught the actresses to do it the 1940s’ way: we drew ‘seams’ up the backs of their hose with an eyebrow pencil.” (The lines didn’t come out completely when we washed their sheer tights, so they just had to retrace the previous line for the next performance.)

At first, I thought the director was impressed by the seamed stockings because I was much more detail-oriented than my predecessor. Later I realized that anyone who was a teen-aged boy in the 1950s probably feels a certain nostalgia for seamed stockings, which, along with high heels and garter belts, were often seen on pin-up girls.

This 1950s’ stocking ad, shared by Sally Edelstein at Envisioning the American Dream, shows the sex appeal of seamed stockings.

Being allowed to wear high heels (or even kitten heels,) and sheer stockings held up by a garter belt was a rite of passage for girls of my generation. (I think that my first heels and stockings were required for a school field trip to the ballet [or opera?] circa 1958, when I was in 8th or 9th grade.)

Garter belts, seamed stockings, high heels, and a bouffant “crinoline” petticoat in 1958: “Today I am a woman!”

At thirteen, I was finally old enough to ask, “Are my seams straight?”

To return to my costume design for Brighton Beach Memoirs, would this new (to me) information about the existence of seamless stockings*** in 1930 have made any difference? No, because the characters in the play are struggling financially, and because they are not fashionable women. They would have worn inexpensive stockings — probably cotton, rayon, or “service weight.”

Service weight silk stockings were not as sheer as “chiffon” ones. Sears, Fall 1930.

I settled for using sheer tights with added seams because at the time of the production that was the most affordable option. Also, in college productions, most of the actors are younger than the characters they play. The two “mothers” were actually about twenty years old, and the teenaged daughters were also played by twenty year old actresses. Putting the mothers in seamed stockings and the daughters in bobby socks helped to establish an age difference.

More of my own “Garter Belt and Seamed Stockings” Memoirs to come….

** Some very good costume shop supervisors have told me that a seam can be added to inexpensive modern hosiery with an overlock sewing machine, but I haven’t tried it myself.

*** If you need a research topic, note that some of the images make reference to seamless stockings earlier than 1930.

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Filed under 1920s, 1920s-1930s, 1930s, 1930s-1940s, 1940s-1950s, 1950s-1960s, Hosiery, Hosiery, Hosiery & Stockings, Musings, Old Advertisements & Popular Culture, Tricks of the Costumer's Trade, Underthings, Hosiery, Corsets, etc, Vintage Accessories

A Visit to January 1920, from Delineator Magazine

Ice skaters in an ad for Ivory Flakes laundry soap. Delineator, January 1920, page 4.

One hundred years ago, the January Delineator offered Butterick patterns, advice for the working girl (and her mother), sketches of Paris couture, and all kinds of advertisements. Enter the time capsule:

French couture from Doucet and Paquin. January 1920.

Butterick sewing patterns inspired by French designer styles.

Butterick sewing patterns, January 1920.

These are not what we usually think of when we hear “Twenties’ style,” but the decade was just getting started. Page three began an essay on the dangers awaiting naive young women who went out to work in offices….

“A Warning for Business Women…”

The “young, ignorant girl” applies for a job….

Her boss tells her that “he would go mad unless he could find a young girl who could understand him and care for him….”

Here, he offers her alcohol….****

And then, he escorts her home….

Her mother needs to warn her…. (Author: Josephine Stricker)

It was 100 years ago, but all of this sounds painfully familiar in the 21st century. At least we now acknowledge that saying ‘no” isn’t always enough.

If you had to work as a housemaid, the difficulties might be considerable. This little article about the life of a housemaid in England shows that even Delineator was shocked by their working conditions:

Delineator was aimed at middle and (aspiring) upper class women, but the plight of British housemaids was shocking.

Back to fashion: These Butterick patterns for misses (age 14 to 19, in most cases) show a hint of what women wore in the later 1920s:

A selection of Butterick patterns for misses in their teens. The schoolgirl’s outfit at right shows the straight, low-waisted trend of the future.

Dresses for grown women also offered some styles without exaggerated hips:

Daytime styles for women from Butterick, January 1920.

The bare arms of evening dresses, even for girls in their teens, surprised me. For more “very bare” gowns from 1920, click here.

For young men returning from WW I, these uncorseted young women in bare-armed dresses must have been a pleasant surprise.

What did women do about underarm hair?

Ad for DeMiracle hair remover, January 1920.

A prized gift in 1920 was a “Spanish comb,” often made from celluloid, “the first synthetic plastic material.  In this ad, a celebrity endorsing fingernail powder (yes, nails were buffed to a shine by most women) wears a Spanish comb:

Actress Kitty Gordon wears a Spanish comb in her hair while endorsing Graff’s Hyglo powder nail polish.

More Spanish combs. These are from 1922.

You could order your camisoles, nightgowns, bloomers, and combinations from Dove and other companies.

Ad for Dove Undergarments, January 1920.

WW I had made knitting more popular than ever; this is an ad for Fleischer yarns:

Knit yourself this aqua sweater with Fleischer Yarns.

The obsession with boyish figures has not yet appeared.

You could wash your woolens and fine lingerie with Ivory Soap Flakes.

Well into the Twenties, women shaved their own soap flakes from bar soap, so this was a modern convenience product.

Also convenient: Rubber shoe covers.

Rubber shoe covers slipped on over your shoes in 1920. The shoes might be worn with gaiters that laced up the front. Some shoes had built-in gaiters.

Later in the 1920s, the B.F.Goodrich rubber company introduced a winter shoe cover with a slide fastener closing, giving us the word “Zipper.”

Mothers could find ads for maternity corsets in 1920:

The H & W maternity corset ad, January 1920.

And safety pins had been around for over a century:

Changing diapers was easier after the rust-proof safety pin became widely available. January 1920 ad.

It was appropriate that a magazine designed to sell sewing patterns should have ads for sewing machines.

The Davis sewing machine was portable and electric.

The Davis portable electric sewing machine was operated by a foot pedal. [I made clothes on a (non-electric) treadle sewing machine in the 1960s. Wish I still had one, even though it took up a lot of room.]

This ad should hold a special interest for all us who love Daphne DuMaurier’s novel Rebecca. In a scene often described as the most un-romantic marriage proposal ever, Maxim de Winter includes the information that “I prefer Eno’s.”

Ad for Eno’s Fruit Salts, a laxative. January 1920.

(Let’s hope it wasn’t the Washington Monument in this ad that attracted his attention.)

Eno’s Fruit Salts ad, January 1920.

To see the marriage proposal scene from the excellent (and faithful) 1979 TV adaptation of Rebecca, starring Joanna David and Jeremy Brett, click here.

**** I am irresistibly reminded of the limerick about “the young lady of Kent/ who said that she knew what it meant/ when men asked her to dine/ over cocktails and wine….” Perhaps her mother had explained it to her after reading the article in Delineator.

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Filed under 1920s, Combinations step-ins chemises teddies, Maternity clothes, Menswear, Musings, Old Advertisements & Popular Culture, Shoes, Underthings, Vintage Accessories, Vintage Couture Designs

1920s’ Hat Patterns Online at CoPA

Inspiration for your cloche hat trim: McCall 1372 from 1924 at CoPA.

The Commercial Pattern Archive (CoPA) at URI has hat patterns, which makes it a good place for milliners to look for inspiration. McCall 1372 is one of the patterns that doesn’t have an image of the pattern pieces, but you could apply these trim ideas to a purchased hat.

As usual, this hat pattern included more than one style. Notice the simple pleated ribbon cockades on the red hat. Are the centers filled with beads or lace or French knots? Your choice.

If you want to read the suggested fabrics or other details, just log in to the C0mmercial Pattern Archive and search for McCall 1372. (Be sure to chose “any” in the final “collection” category.) Using CoPA is free!

Many of CoPA’s hat patterns do show the original pattern piece shapes.

McCall 1603 shows two different cloche hats.

I used to think cloche hats had to be made by starting with a felt shape, but 1920s’ sewing patterns allowed women to make a cloche without having to own equipment to steam and block the felt.

The black hat on the left has a very simple pattern:

Three pattern pieces plus a ribbon trim. McCall 1603, View 1.

Cloche hats made from 4 to 6 gores were common patterns. This one has an intriguing zigzag in the brim. McCall 1603, view 2. It looks like the darker brown “brim” is just a piece of ribbon tucked under the hat!

One version of Butterick 1800 (view A) looks like a 4 gored hat from the top but really uses an easy one-piece side-and-crown combined.

Notice that the lining is very simple, and does not have to echo the shape of the hat. The same lining is used for variation B of Butterick 1800:

Butterick 1800, version B. A hat from just two pattern pieces!

An experienced milliner would know to add lining and an interior ribbon band in the right size for the head measurement.

McCall used full-color pattern illustrations on their envelopes, which makes them a joy to find. McCall 1604, dated 1927.

Version 1 only shows two gores, but I’m guessing the instructions said “cut two” of each….

It looks to me like there are two front gores and two gores in back, with a seam creating a ridge across the top.

Pattern pieces for two versions of McCall cloche hat No. 1604. The front and back crown shapes are subtly different.

Version 2 is really simple: a circular top, a crown with tall, curved sides that are crushed into folds, and a quirky shaped brim which folds down over one cheek. You could sew on a pair of jeweled buttons if you don’t have a Cartier cliquet pin.

Hats began shrinking in the 1930s; in the “I would never have figured that out!” department, here is a preview of McCall No. 69, a hat pattern from 1932.

McCall hat pattern 69 uses pattern shapes I would never have thought of by myself. Visit CoPA to see this one!

Version C of McCall 69. The pattern, which looks like it is exploding, uses just one, bizarre, piece plus a ribbon headband.

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Filed under 1920s, 1920s-1930s, Accessory Patterns, Hats, Hats and Millinery, Resources for Costumers, Vintage patterns

College Wardrobe for Women, 1929

Essentials of a perfect College Wardrobe; Delineator, September 1929.

It’s a bit late in the year to be planning an “off to college” wardrobe, but Delineator devoted several pages to this question in September, 1929.

Administrators at Vassar, Wellesley, and Smith colleges shared their observations on what college girls were wearing in 1929. Delineator, Sept 1929, pp. 29 & 104.

Administrators at three prestigious East Coast women’s colleges contributed their observations in an accompanying article, which was later quoted in the Butterick pattern descriptions.

In addition to Butterick patterns, several “college clothing” illustrations were sketched from clothes being sold at Lord & Taylor.

These “College Requirements” could be purchased at Lord & Taylor. Delineator, Sept. 1929, page 28.

At all three colleges, sportswear — rather than “city” clothing — was said to dominate.  (Vassar was literally “in the country.” In the case of Wellesley, Freshmen lived in the nearby town, so clothes suitable for walking and bicycling to campus were necessary.) Dressing for dinner usually required a change, but not into evening dress.  However, dances and Proms called for at least one formal evening gown.  [I attended a women’s college in California in the 1960s, and we often loaned or borrowed evening gowns for off campus dances, so having only one wasn’t a real problem. Our dates saw us in a different dress each time.] I also appreciated reading about a dorm at Smith where the girls grouped together to rent a sewing machine! All three writers agreed that sporty, casual clothing — home made or purchased — dominated the college wardrobe and to some extent erased class distinctions. (In the late Twenties, Vassar had 1150 undergraduate students, Wellesley 1500, and Smith 2000.)

Laura W. L. Scales, Smith College. Delineator,  Sept. 1929, page 29.

I’ll start with college clothes available from Lord & Taylor in 1929:

(A) A fur coat was practical on campus in snowy winters, but wool coats were equally acceptable.

(B) is an afternoon dress, suitable for formal daytime events (teas, concerts) or as a dinner dress at college.

Wool knits, jersey, and tweeds were practical and traditional “country” looks; most of these colleges were then in the country a few miles from big cities, although urban sprawl has changed that.

“Simulated suede raincoat”? Interesting.  Augusta “Bernard” and “Louiseboulanger” were top Paris designers,

A warm robe, pajamas for sleep and dorm lounging, plus “sports” underwear (J): the top and bottom are buttoned together. 1929.

Formal evening wrap and dress from Lord & Taylor. September 1929. The coat is short; the gown has a long dipping hem.

Note those stretchy bias diamond pieces at the hip of the gown. Pearl-covered handbag.

Butterick patterns for the young college woman, September 1929:

Butterick patterns for college women, Sept. 1929, p. 30.

This dress really is easier to make than it looks. The full, scalloped skirt is cut on the straight grain, lined with “skin” colored taffeta, and has a dipping hem because it is attached to a dipping bodice.

Intimate apparel for college girls:

The slip at right has built in panties, to save time while dressing ….

“No brassiere is necessary,” but some girls do “make this set with a bandeau brassiere instead of a vest.”

Fall and winter weather was another good reason for wearing sporty wool clothing with low heeled shoes and wool, instead of silk, stockings on campus.

Wool fabrics were suitable for campus or weekends in town:

More sporty patterns for college women, 1929. Butterick patterns, Delineator, page 31.

A tweed suit suitable for city or country, a chic two-toned jersey dress, and a princess line wool or jersey dress with flared panels. Butterick patterns from Delineator, September 1929, p. 31

A sporty tweed dress with laced trim (very popular in the 30s), a pleated wool dress with Deco lines (“staircase pleats,”) and a fur-trimmed tweed coat. Butterick patterns for college women, Delineator, Sept. 1929, p. 31.

It’s sad to realize that these attractive 1929 styles would be out of fashion just a year later — although many women would have no choice but to continue wearing them as the economy crumbled in the early nineteen thirties.

 

 

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Filed under 1920s, 1920s-1930s, Bras, Coats, evening and afternoon clothes, handbags, Hosiery, Hosiery, Hosiery & Stockings, lingerie, Nightclothes and Robes, Not Quite Designer Patterns, Panties knickers bloomers drawers step-ins, Shoes, Slips and Petticoats, Sportswear, Underthings, Underthings, Hosiery, Corsets, etc, Women in Trousers

Costume Jewelry from Paris, 1927-1928

Vanilla lace Chanel gown worn with a bow pin at the shoulder. Delineator, May 1927. The illustrator is probably Desvignes.

In 1928, writer Marie Beynon Ray devoted an article to the appearance of designer jewelry sold by the top couture houses.

Title of article in Delineator, April 1928, page 35.

“Pin of cloudy crystal set off by the somber black of onyx in rectangles binding the farther sides. The pin is worn at the shoulder, on the hat, or to hold the frock’s drapery.” Delineator, April 1928, page 35.

A set of cut crystal necklaces in several lengths and a matching group of bracelets. Delineator, April 1928.

The change was not only that couturiers were branching out into a new field (they had already discovered how lucrative their own perfume labels could be) but also that non-precious jewelry was suddenly chic: “a yard of so of ’emeralds’ of a size they never could be, or a half yard of ‘diamond’ bracelets up the arm….”

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Illustrations by J. Desvignes for Delineator, November 1926.

“A Jewel for Every Occasion,”  Delineator, April 1928.

“Once — not so long ago —  no lady worthy of the name would have been caught, dead or alive, wearing imitation jewelry…. jewelry so Gargantuan and blatant that there is not the smallest pretense that it is genuine…. And all this the dressmakers of Paris have brought about.” [Semi-precious stones like rock crystal were replacing diamonds and real pearls, as rhinestones, “paste” or “Strass” jewels, glass pearls, and cut glass jewels became chic instead of shameful.] Big artificial pearls were replacing “the string of pearls so tiny and so meticulously perfect that they might be real.” “No jeweler in the world, not all the Cartiers and Tiffanys combined, could turn out jewelry of the stupendous proportions that ladies demand today.” [That image of Chanel wearing lots of fake pearls is not from the Twenties, but the same site says she “opened her own jewelry workshop” in 1924 and introduced diamond paste jewelry — i.e., fake diamonds — in 1928.]

Long diamond [?] “leaf” earrings with a bangle bracelet; Delineator, April 1928.

The shoulder pin is rock crystal with a “star” design shining up through it. The bracelet is made of rectangular crystals (not diamonds.)

It looks to be “expansible.” ( JewelryPatents.com is a very helpful site!)

Art Moderne geometry in a rhinestone buckle and an oblong crystal pin. [Crystal may mean “glass,” as in “Swarovski crystal” or “Czech crystal.”]

Square-cut rhinestones on the links and the pendant of a necklace. Delineator, April 1928. (That’s a chenille pom-pom on her shoulder.)

“But what have the dressmakers to do with jewelry?… they have found that everything that a woman puts on her body, while she is wearing one of their gowns, enormously affects the chic of the gown…. And now, when she buys her dress, she buys, at the same time and place, the jewels that complete it.”

“A Jewel for Every Occasion,”  Delineator, April 1928.

“Since the dressmakers have thus summarily taken the designing of jewelry into their own hands, two expected developments have taken place: first, the jewels bear a much closer relation to the gown than formerly; and second, they are not genuine.”

This shoulder pin in the shape of a bow was a featured accessory in March 1927. Delineator, p. 16.

Very similar dark stones outlined in rhinestones form a bow on this Chanel evening dress. May 1927, Delineator.

This “bow” necklace and bracelet in gold were designed by Premet.

“Metal jewelry may be worn with sport clothes.”

Costume jewelry — not from couture designers — was affordable. My mother (b. 1904) worked as a secretary, but she was able to afford a set of three, large  graduated crystal necklaces like these:She also owned some pins like this Art Deco clip (which I wear, sometimes:)

Large Art Deco clip, costume jewelry, circa 1930.

It has a patent number, but I haven’t been able to identify or date it. It’s a rather impressive size — over two inches long:My mother and I didn’t see eye-to-eye on many things, but in this case… Thanks!

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Filed under 1920s, 1920s-1930s, evening and afternoon clothes, Jewelry, Resources for Costumers, Vintage Accessories, Vintage Couture Designs