Category Archives: Vintage Accessories

Women’s Fashions for February, 1927

Butterick patterns from Delineator, February 1927, page 22. Illustrations by M. Lages.

Butterick patterns from Delineator, February 1927, page 25.

These patterns for spring of 1927 show quite a variety of looks, from a graded-color “compose” dress to peasant-look embroidery. There is a bolero dress, plus two shirred dresses, and a really striking coat — simple in style, but dramatic when made in a jazzy fabric.

Butterick’s “informal” coat 1254 looks fabulous in this material. Note the tie belt, which seems to run under the pocket.

The dresses on these pages are very different, but all twelve illustrations show variations on one (rather sloppy) hat style.

Butterick 1300, 1264, and 1270, Delineator, February 1927, p. 22. 1264 has the bolero look — but the bolero only hangs loose in back.

The sheer Georgette vestee — or dickey– is detachable. The bodice tabs extend into belt carriers in back.

Butterick 1270 is a “frock that looks like a coat.” I could use a bit more construction information on that one….

Pages 23 and 24 showed four more outfits, including this graded dress and a dress-and-jacket combination.

Butterick graded-color dress 1282 is monogrammed, a style attributed to Patou, and suggests a jacket — an illusion. Dress 1298 combines with a real jacket, Butterick 1229, to create a suit. Delineator, Feb. 1927, page 23

As is often the case, the back of the outfit is much plainer than the front.

Butterick dresses 1278 and 1253, Delineator, Feb. 1927, p. 24. No. 1278 has a dark band on the skirt and at the bottom of the sleeves. (The dress at the right seems to me to be a bit of a hodge-podge….)

The following fashions are from page 25:

A woman in a shirred dress (Butterick 1238) leads a woman in a tiered, graded-color dress (Butterick 1280.) Delineator, February 1927, page 25. No. 1238 could be made sleeveless for evening, and was available in large sizes.

Details of Butterick 1238 and 1280. No. 1238 is shirred in a semicircular pattern at the closure. The sleeves and belt of No. 1280 repeat the color progression of the skirt tiers.

Butterick 1268 has a lighter yoke and sleeves, and darker banding. Butterick 1276 has sheer, embroidered “peasant” sleeves. Delineator, Feb. 1927, p. 25.

What to wear under these clothes? A light, boneless corselet like this one minimized the wearer’s curves:

A light foundation garment made by Gossard. Ad from Delineator, Feb. 1927.

And don’t forget to dye your stockings to match your dress….

Ad for Putnam Dyes, Delineator, February 1927, p. 121.

 

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Filed under 1920s, 1920s-1930s, Corselettes, evening and afternoon clothes, Foundation Garments, Hats, Hosiery, Hosiery, Hosiery & Stockings, Sportswear, Vintage patterns, Vintage Styles in Larger Sizes

Very Thirties: Great Big Bows

Butterick jacket outfit with a big, big, white pique bow. Butterick 5783, July 1934. Delineator.

Sometimes an era has fashion details that just scream the date — Leg o’ Mutton sleeves for the 1890’s, bustles for the 1880’s and 1870’s, etc. One of the things that screams “Nineteen Thirties” is the great big bow. [Some of these are not technically “bows,” because they give the impression of a bow without actually tying the fabric — but it ‘s the impression that counts.]

Outfits with 1930’s bows, Butterick 5138 and 5145, Delineator, June 1933. The one on the left might not look ridiculous, but the one on the right says “comedy” to me.

It may be the stiffness of the bow on the left that makes it extreme; the soft bow on the far right looks less aggressive, but it’s still a big one. Butterick 5856, 5860, and 5866, all in metallic fabrics; Delineator, September 1934.

Of course there are some bows that seem in proportion with the dress — and the human body — but there are also 1930’s bows that now look comic. Good if you’re designing a musical comedy…. Hard to carry off in realistic dramas.

The model in this Midol ad from 1934 wears a big plaid bow. Delineator, December 1934.

Matching plaid hat and stiff taffeta scarf, Butterick 5478, March 1934.

Bows appeared on evening gowns — front or back.

Butterick “robe de style” No. 5989 would discourage dancing cheek to cheek. Delineator, December 1934, p. 17.

Butterick 5780 is an evening grown with matching jacket … and bow. Delineator, July 1934.

“Code for College,” August 1934, included an evening jacket and gown with a big, stiff bow, although the suggested fabric was crepe…. Delineator. Butterick 5840.

The gown on the left (5864) is “after” Lanvin; the gown with the bow (5843) was “adapted from” designer augustabernard. Delineator, September 1934.

Bows on day dresses could range from modest to very large.

Butterick 5069, Delineator, April 1934. It’s really a collar scrunched up to look like a bow.

Butterick 5632, April 1934. White bow and cuffs; square buttons, parallel diagonal seams on bodice and skirt. Interesting!

Butterick 5628, April 1934. A bow edged with crisp, pleated ruffles, shown in detail at top.

Butterick 5848, August 1934. This bi-color bow seems to emerge from the front seam of the dress [but doesn’t.] The seam lines are very creative.

Butterick 5858, featured among “dresses from Paris.” August 1934. A band of trim on the end of the bow is continued down the skirt.

Bows appealed to the mature woman:

Butterick jacket frock, April 1934.

Fashions to flatter the large or short figure, December 1934. Left, 5967, with a pale jabot collar to draw the eye toward the face, was available up to size 52. The ensemble on the right with a soft bow, Butterick 5999, was available through size 48. It’s notable for being illustrated on a figure with realistic  hips.

Butterick 5449 combines two “very Thirties” looks: a big, big, bow and a big, big collar. It is sleeveless, but the model looks mature.

Bows, sometimes made of fur, even appeared on coats (5984). Butterick patterns from December 1934. Left: 5985 has a droopy bow; right: 5975 has a big, perky bow.

Bows were not considered matronly — they appeared on clothes for teens,  junior misses and even younger women.

Butterick 5061 for the Junior Miss. April 1933, Delineator.

Butterick 6071, from February 1935. I can picture this on the smart young office worker in any number of 1930’s movies. For Junior Misses 12 to 20 and women from 30″ up to 38″ bust. [Sizes 12 through 20 were for short and small women and teens.]

Butterick coat 5580, for girls, has a combination collar/bow that buttons into place. March 1934.

Butterick patterns for fur collars (5954) and hats (5933.) November 1934. The ones at top and center give the impression of being tied into a bow.

This one is a grand version of the collar on the girl’s coat:

Fur collar pattern, Butterick 5954, November 1934.

Did women really wear all these big bows?

Butterick 5756, from summer 1934, couples the big bow with unusual shoulders.

Miss Mary Kenny in a similar bow made of necktie silk. Delineator, June 1934. Her top has fashionable open sleeves, too. [In the early days of changing to fashion photographs instead of drawings, Delineator used young socialites and debutantes as models.]

Truth to tell, I really like this 1930’s dress with a bow:

Butterick 5915, from November, 1934.

Although most of these “big bow” images are from 1934, it just reflects that I have a lot of Delineator photos from that year. Butterick’s Delineator magazine ceased publication in 1937, but not before arranging for Butterick patterns to be featured in Woman’s Home Companion:

Variations on Junior Miss pattern 7204, Woman’s Home Companion, February 1937. The bow is still there.

 

 

 

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Filed under 1930s, Accessory Patterns, Children's Vintage styles, Sportswear, Vintage Accessories

More Blouses from the Early 1930’s

Two versions of the same blouse, Butterick 4420, from April 1932, Delineator.

These blouses from 1932 and 1933 continue to popularize the use of separates, possibly for office wear, possibly because a blouse is easier to launder in a wash-basin than a dress,  and probably because a blouse takes less fabric. The ability to get several looks from the same two or three blouses and one or two skirts might be another attraction in the scarce-money days of the 1930’s.

A few of the blouses shown below, all from 1932 or 1933, plus two or three skirts or suits, would combine to make a really extensive wardrobe. The skirts of 1932 -1933 were long.

Here, two Butterick blouse patterns are shown with skirt 4908. February 1933, Delineator.

First, Butterick blouses and tops from 1932:

Butterick blouse 4420 was shown in long or short-sleeved versions. Delineator, April 1932.

Butterick blouse 4420 in a more casual version, with short sleeves, a peek-a-boo front, and in dotted fabric. Notice the triple darts that shape the waist and control the fullness. Clever! [Did it have a side opening?] April 1932.

A more “strictly-business” attitude for Butterick 4444 and 4368. April 1932, Delineator. The striped blouse has a “shirtwaist front.” 4368 has a peplum.

Although this next set of tops are called jackets, they are so brief they might be worn with skirts or beach pajamas.

Butterick “bell-hop” jacket 4436, which comes only to the waist. April, 1932.

A young man wearing a bell-boy or bell-hop’s uniform. Story illustration, Ladies’ Home Journal, Jan. 1936.

This version of the “bell-hop jacket”  has “a strict, tailored air.” Butterick 4436, April 1932.

Jacket 4436  was available in a bolero version which “makes a blouse and skirt look like a frock and gives a frock a dress-up air.” 1932.

In case you noticed, three fabric hats made from Butterick pattern 4472 accompany the jacket illustrations.

1933 was also a good year for blouses, beginning in January. All are Butterick patterns featured in Delineator magazine.

Butterick blouse 4882 looks complicated — I’d like to see the pattern pieces! It was also shown in two versions. January 1933. [Sorry about the fuzzy lines — it was a small illustration, not a hairy blouse.]

Butterick 4882 with long, fancy sleeves. January 1933.

[In the interests of space and legibility, I moved the blouse illustration from right to left.] Match your skirt and blouse colors.

Two Butterick blouses for February, 1933. Left, pattern 4922 (“Aboveboard”); right, pattern 4914 (“Half and Half.”) Full sleeves with fitted lower portions  — reminiscent of the 1890’s –were chic.

The February report on Paris Fashions says dressy blouse 4922 in “saffron yellow rough crepe” would look good  “over any table, bridge or luncheon.” Blouse 4922 in “light gray lawn … with a schoolboy collar and tie” is paired with a dark gray wool wrap-around skirt, 4914.

The cover of Butterick Fashion Quarterly showed another short jacket, Butterick 4888, and a wonderful pair of button front beach pajamas, Butterick 3884.

Detail from cover of Butterick Fashion Quarterly, from an ad in Delineator, February 1933.

Here is a clearer image of both, from Delineator, July 1933.

Resort wear: Butterick jacket 4888 in a longer version, and beach pajamas 4884 (right) and 4404 (left.) July 1933.

However, I’m getting ahead of myself; more blouses were shown in the April issue of Delineator:

Butterick blouses 5060 and 5030. April 1933, page 86. 5030 has “cowl sleeves,” an expression I’ve never heard before. 5060 has a sort of built-in weskit or vest.

[Full at the top, fitted at the bottom: 1890’s sleeves.]

Metropolitan Museum Collection. Gigot or “leg of lamb” sleeves. 1890’s.

Digression: I’ve written before about the popularity of collars which could make one dress look like a wardrobe. On the same page was Butterick collar pattern 5072. Imagine these Depression Era collars transforming  a simple dress or a sweater.

Butterick collar pattern 5072 — an inexpensive way to “boost morale.” Delineator,  April, 1933, p. 36

Some Thirties’ dress patterns even came with interchangeable collars.

Back to Blouses: In May, Delineator was writing about borrowing masculine styles for feminine clothing:

Left, Butterick blouse 5090; lower right, Blouse 5116. May 1933. Notice the little darts on 5090, insuring a neat waistline. 5116 is the first of many garments with the look of a man’s vest or weskit. “Note the square buttons.”

Sleeves, 1893. They are very full at the shoulder but tight on the lower arm. Met Museum fashion plate collection.

Blouse (jacket?) 5084 was shown in two versions. This one seems like a wild topper — in taffeta — for an evening skirt, a dark velvet one, perhaps. Below, it’s barely recognizable as the same pattern:

Butterick 5084 is both feminine, in the sleeves, and masculine, in its weskit, which is essentially a man’s formal white evening vest. It is worn over a blouse or dress. May 1933.

For men, there was a brief fad for short mess jackets — copied from the military — in 1934.

I’ll leave blouses from 1934 for another day.

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Filed under 1930s, Accessory Patterns, Hats, Men's Formalwear & Evening, Sportswear, Uniforms and Work Clothes, Women in Trousers

Women’s Shoes: 1929 versus 1936

These are Foot Saver Shoes from a February 1929 ad in Delineator. Foot Saver Shoes emphasized comfort over high fashion, but these shoes are also chic; the dressy shoe on the bottom has a delicate strap and gracefully curved heel.

Nineteen thirties’ shoes from the same company look “clunky” to me. Their thick heels drop straight from the arch to the ground, and the shoe covers much more of the foot.

These dressy shoes (one of them trimmed with sequins) are also Foot Saver Shoes, from an ad in Woman’s Home Companion, October 1936. To me, they look thick and chunky, with high vamps guaranteed to make a woman’s legs look shorter and thick ankles look thicker.

I see a big difference between the fashionable shoes of 1929 — most of which seem graceful and beautiful to me — and the chunkier, more covered-up shoes of 1936.

Styles from an ad for Dorothy Dodd Shoes, Delineator, March 1929. How delicate they seem.

In March 1929, Delineator ran a fashion article (by Lucile Babcock) on Spring shoes, which featured these six shoes, from different manufacturers. The following quotations come from Babcock’s article.

Black patent leather pump from Laird-Schober. Delineator editorial on Spring Shoes, March 1929. For clocked stockings, click here.

“Patent leather is most successful when combined with lizard or kid in a monotone.”

Foot Saver walking pump in brown lizard and calfskin. Delineator, March 1929.

A Queen Quality pump decorated with  “sunburn beige” lizard. Delineator, March 1929.

“Water-snake and lizard are carried over for the spring session, and those lovely gray-beige tones which blend so well with frocks of beige, gray, blue or green are witnessed everywhere…. Kid-skin colors hold a brief for the sunburn vogue, and all tones of beige are important.” (Suntanned skin was just becoming chic in the late twenties.)

This natural linen [spectator] sport shoe has an embroidered toe and delicate leather trim. Delineator, March 1929.

“The fabric shoe, essentially a sports style, is very definitely on trial for its acceptance by smart women…. In its best aspects, the fabric shoe is the prefect final note of gaiety for the white costume.”

A slate blue kid afternoon pump by J. & T. Cousins. Delineator, March 1929.

“Two blues demand attention, a slate blue and a deep bright blue called “commander.’ ”

This “Frosted calf” pump by Garside is silvery gray, with an enameled [Art Deco] buckle. Delineator, March 1929.

“A new leather called “frosted calf,” with a lustrous surface, is seen in gray (a deeply beautiful gun-metal hue) in beige, brown and black.”

Coordinating stocking colors were recommended for each featured shoe. “So specialized is the hosiery situation with its complexion tints and sunburn hues that the wise woman saves time and effort by selecting her hose wardrobe at the same time that she makes her shoe decisions.” [1929]

Shoes and stockings are coordinated to the clothing in this Arch Preserver shoe ad, June 1929.

https://witness2fashion.files.wordpress.com/2013/12/1929-oct-hosiery-ad-photo2.jpg?w=500&h=423

Stocking colors in this ad from October 1929 could match your gown, your shoes, or your skin tone.

By 1936, stocking colors were more natural, but still coordinated with shoes and/or clothes.

Arch Preserver shoes from April 1929. Delineator.

Foot Preserver shoe ad, March 1929. Delineator. The lace-up shoe on the bottom is similar to the “old lady shoes” of the 1930’s, shoes my grandmother still wore in the 1950’s.

The Foot Saver shoe at the top of the ad has a thick strap, but it’s trimmed with a fancy buckle and has a graceful curve on both sides of the heel. March 1929.

Arch Preserver shoe ad, Delineator, March 1929. Notice the high-vamped, Thirties-ish shoes worn by the model at left.

These shoes foreshadow the higher, chunkier shoes of the 1930’s, but the 1929 sport shoe (below at top left) still has thin, graceful trim.

Arch Preserver shoes ad, March 1929.

Speaking of sport shoes, this nineteen twenties’ ad for ZIP depilatory shows them worn with socks.

Sporty spectator shoes worn with diamond-patterned socks in a Zip depilatory ad, 1929.

In 1934 you could still buy Sandals (a Walk-Over brand) with straps almost as thin as 1920’s shoes:

Ad for Walk-Over Sandals shoes, December 1934. Delineator.

This ad for Rhythm Step shoes shows a delicate strapped shoe (top left) in 1936. Woman’s Home Companion.

But the lace-up shoe in the same ad was more in line with mainstream fashion by then, with a high heel and high vamp  covering most of the foot.

I love the Twenties’-look shoes used in this 1936 Lux soap ad:

Thin-strapped shoes in a Lux soap ad, WHC, Feb. 1936. (Lux claimed to prevent stocking runs.)

But fashion is a tyrant. Did they look old-fashioned to the eyes of 1936?

Queen Quality Shoes from April 1936, WHC.

One more look at 1928:

Queen Quality shoe ad from 1928. There was a big difference between sport shoes and dress shoes, but there’s also a big difference between these 1920’s shoes and 1930’s shoes from the same company.

Here are oxfords from 1936 versus 1928:

Different heel, different vamp on two lace-up shoes from Queen Quality, 1936.

Three generations, 1937. Can you tell which are the young woman’s shoes and which are her grandmother’s? Pattern illustration, WHC.

 

Three generations of fashionable women, 1937. Were you able to match the shoes to their ages?

Mother, daughter, grandmother.

 

 

 

 

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Filed under 1920s, 1920s-1930s, 1930s, Hosiery, Hosiery, Hosiery & Stockings, Old Advertisements & Popular Culture, Shoes, Vintage Accessories

Shoe Wardrobe, December 1927

Opera contralto Kathleen Howard, shown with some of the shoes that make up her wardrobe. Delineator, December 1927, p. 25.

In “The What and Why of My Shoe Wardrobe,” opera singer (and multi-talented actor/writer) Kathleen Howard shared her thoughts about the shoes and slippers she found necessary for private and public life. (She owned a lot more than nine pairs of shoes!)

Howard’s shoes illustrated by Dynevor Rhys. December 1927.

The illustration was also noteworthy for the bracelets she is shown wearing:

Text describing nine pairs of shoes, plus a view of Howard’s stacked bracelets. December 1929.

This is the 1920’s shoe I found most amazing:

“White satin sandal with strass (rhinestones) and seed pearls,” by Aubert. December, 1927.

Fashion advice from Kathleen Howard, Delineator, December 1927.

Kathleen Howard’s other shoes, from top left:

Bedroom slipper (mule) from Dec. 1927. “Rose and silver brocade mule with silver heel and rose ostrich [feathers.]”

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The laughing mask shoe at lower right ( T ) was attributed to Netch et Bernard by Delineator in October, 1928. Shoe R is a mule with wooden sole, like “sabot” mules by Perugia as described by Howard.

Click here to see Perugia mask shoes and other gorgeous Twenties’ shoes.

Some of Howard’s other “slippers” are pictured later.

White kid sandal, Dec. 1927. “A white kid sandal with yellow bands, heel, and tie ribbons” by Greco. (The original images were too small to enlarge well. The bands and heel are yellow lizard. )

“To wear with white clothes in the south there are oxfords of white lizard, the cleanest looking-things imaginable. Lizard has a peculiar neatness about it, caused, I suppose, by the tiny pattern of the poor little beast’s skin, which makes it most appealing. To wear with Southern clothes, Greco shows sandals in white kid trimmed with yellow or blue.” — Kathleen Howard

Slipper, 1927. “A scarlet, green, blue, or brown morocco boudoir slipper….” ” To wear with my house pajamas in the evening, … comforts for my tired extremities.”

Opera pump, 1927. “A black patent leather opera pump with cut-steel buckle.” “No shoe wardrobe is complete without patent leather so-called opera pumps.”

Slipper in dark blue kid, 1927. “Ducerf-Scavini slipper in dark blue kid with suede trimming and an enamel buckle.”

Patent leather, 1927. Two-strap “Ducerf-Scavini shoe of black perforated patent leather.”

Boudoir slipper, 1927. “Hellstern‘s hyacinth and silver brocade slipper with silver trimming and diamond and sapphire buckle.” “A pretty pair of brocade… to go with my prettiest negligee.”

I find the word” slipper” confusing. Howard says she wears some of these high-heeled slippers with her negligee, so they are bedroom/boudoir slippers. But perhaps “slipper” also refers to fabric dancing shoes, like this blue satin sandal with gold kid trim, or that jewelled, ankle strap, white satin shoe?

“A dark blue satin sandal with gold kid” trimming, by Greco. December, 1927.

Satin shoe, 1927. “White satin sandal with strass (rhinestones) and seed pearls,” by Aubert.

Not pictured were Ms. Howard’s golf shoes. It looks like she did not treat herself to that pair of alligator golf shoes by Perugia:

Wow, What a Woman!

In 1928, as her singing career wound down, Kathleen Howard (b. 1884?) started working as a fashion editor for Harper’s Bazaar; she also wrote for the Saturday Evening Post and Ladies’ Home Journal. (In 1918 she had written Confessions of an Opera Singer.) Several years after this 1927 Delineator article was published, Howard began another new career in the movies, most notably as a brilliant foil for W. C. Fields in several comedies, including It’s a Gift (1934) and Man on the Flying Trapeze (1935.) Sistercelluloid.com has written a delightful appreciation of the versatile Ms. Howard. Click here to read it.

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Filed under 1920s, 1920s-1930s, evening and afternoon clothes, Shoes, Vintage Accessories

Day and Night in Vogue Patterns, 1937

“Make These and Have Something to Wear: Vogue Designs for Busy Days and Crowded Nights”

“Vogue Designs for Busy Days.” Ladies’ Home Journal, November 1937, page 30. November 1937.

Vogue Designs “for Crowded Nights.” Ladies’ Home Journal, November 1937, page 31.

This two-page spread in the Ladies’ Home Journal (LHJ) featured nine Vogue patterns. Here they are in detail:

Vogue two-piece dress pattern 7508 (in “copper”) and dress 7511 in black trimmed with grosgrain ribbons in “flower colors” to “trim the deep-lapped seam from neck to hem.” November 1937, LHJ. Shoulders are getting broader.

Vogue 7508, at left,  is “fitted to bring out natural curves;” Vogue 7511 has a “Victorian” collar and bands of grosgrain trim around the hem, too.

Vogue 7510. November 1937; LHJ. “An opportunity… if you’ve never sewn before, for it’s ‘Easy to Make.’ The skirt is in four gores, and you may use tiny buttons down the front in place of a slide fastener.”

Vogue 7510 has a zipper front and is worn with two (!) belts. Zippers made the change from sportswear to more formal clothing in 1936-1937.

This high-cut collar is also seen on the “copper” colored two piece dress, No. 7508.

Vogue dress 7509, in red, and 7512, in blue. In spite of the zigzag look at the hem and cuffs, 7512 is not a knitted dress. LHJ, Nov. 1937, p. 30. No, 7509 was available for large women, up to a bust of 46 inches.

Details of Vogue 7509 and 7512, from 1937. No. 7509 has a “soft, shirred plastron front”  and amazing sleeves. It is worn with matching dress clips. No. 7512 is “of a new violet-blue crepe with tiny wavy pleating worked right into the fabric. You can make the saw-tooth trimming on your sewing machine. Don’t you think the new-length sleeves are young?”

Alternate views of Vogue 7508, 7511, 7510, 7509, and 7512. LHJ, Nov. 1937.

On the facing page, four Vogue patterns for evening were illustrated:

Slinky satin evening gowns without a center front seam show what can be done with a bias cut and a flat tummy. Vogue 7506, in white, and Vogue 7505, in two shades of green.

“If you can enter a room regally, princess dress 7506 is for you!” This is not what is usually meant by “princess dress.” But she is wearing a tiara….

“The apparent lack of a seam down the front is not a mistake; there is one right down the center in back. We just couldn’t bear desecrating the lovely backward sweep with mere seams. The twisted shoulder straps, that are part of the dress front, drop to the waistline in back. We suggest platinum satin with mink or kolinsky banding.”

(A little digression: Kolinsky is a very expensive fur. High quality watercolor brushes are still made from it; Winsor & Newton will sell you a size 10 Kolinsky brush for $499. Movie plug:  In the 1937 comedy, Easy Living, the life of a hard-working young woman is transformed when an angry millionaire throws his wife’s Kolinsky fur coat out the window. Since our heroine doesn’t know what” Kolinsky” is, she wears the coat, not realizing it’s worth $55,000 — in Depression Era dollars! To her surprise, people start treating her differently because they think she is rich — or immoral….  Easy-to-relate-to Jean Arthur is the star. )

Vogue 7507 has a twisted tie on its bolero jacket. The glittering shoulder straps on the dress can be rhinestoned or sequinned. LHJ, Nov. 1937.

Both the bias cut and the twisted fabrics in those two Vogue evening gowns show the influence of Madeleine Vionnet.

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A bias evening gown with twisted and tied jacket by Madeleine Vionnet, 1935. Photo: Metropolitan Museum.

Left, Vogue 7507, with a sheer, deep pink cover-up. Top tight, Vogue evening gown 7504. LHJ, 1937.

“Coronation pink” refers to he coronation of King George VI and Queen Elizabeth of England and the United Kingdom in May of 1937. They were the parents of Queen Elizabeth II. “Shocking pink” was introduced by Elsa Schiaparelli, also in 1937.

Alternate views of Vogue 7506, 7505, 7507 and 7504. LHJ, November 1937. Backs were cut to the waist on the gowns at left.

Are you inspired to start sewing your New Year’s gown?

Note:  These patterns were featured in November, so women would have been making and wearing them in 1938 and 1939 — or later. By mid-1939, the hems on the day dresses would have looked much too long.

Butterick Fashion News flyer, July, 1939.

Butterick Fashion News flyer, page 3. July 1939.

 

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Filed under 1930s, 1930s-1940s, Not Quite Designer Patterns, Vintage Accessories, Vintage Couture Designs, Vintage Styles in Larger Sizes, Zippers

High Hats, 1937

A high beret by Agnes was featured in this illustration for Woman’s Home Companion, October 1937. Illustration by Dynevor Rhys. [That’s a lot of eye makeup!]

The next month, Woman’s Home Companion offered this hat pattern, No. 7361:

Detail, “Height in Your Hat,” Butterick-Companion [?] pattern 7631, November 1937. WHC. Three hat styles in one pattern for 25 cents.

A style that combines height with a beret front and a driving cap back, pattern 7631, WHC, Nov. 1937.  This one is closest in spirit to the more extreme couture hat designed by Agnes.

Happy Thanksgiving.

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Filed under 1930s, Accessory Patterns, bags, Gloves, handbags, Hats, Purses, Vintage Accessories, Vintage Couture Designs