Category Archives: bags

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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Filed under 1920s, bags, evening and afternoon clothes, handbags, Hats, Purses, Shoes, Sportswear, Uncategorized, Vintage Accessories, Vintage patterns

Before “Twenties’ Fashions” Had That Twenties’ Look

Fashions for women from Butterick patterns, February 1924. Delineator Magazine, page 32.

The iconic look of nineteen twenties’ fashions — dropped waists, short skirts, an emphasis on youth — didn’t really dominate until the latter half of the decade. These styles from 1924 don’t suggest flaming youth.

Butterick coat 5055 with skirt 4743, from 1924.

These outfits from the tubular twenties have very long skirts, just exposing the ankle area. Women’s hemlines are not much changed from 1917. The 1924 Butterick suit coat shown above, from the lower left of the page, not only looks matronly to me, it reminds me of the suits of 1910, although the body ideal is quite different.

More suits from The Gimbel Book, a 1910 catalog in the Metropolitan museum collection.

Another suit, from the Bendel Collection, by French designer Jenny has a vague twenties’ look, hinting at a lowered waist, but it is actually from 1914. Here’s a closer look at that Butterick style for 1924:

The coat is long, the bust is low, and the waist is ignored. 1924. Butterick also sold the hat pattern, a Tam-o Shanter, No. 4886.

An illustration from later in 1924 shows that this shapeless look (with the same hat) was not necessarily for older women:

Butterick hat pattern No. 4886, is worn with a coat (Butterick 5120) and matching skirt (Butterick 4983.) in Delineator, April 1924.

Returning to the top of page 32, a “box coat,” elaborately embroidered using Butterick transfer pattern 10181, is at left. The dress worn under it does have a dropped waist.

At left, Butterick’s box coat pattern 5052 over dress 4721. From 1924. The outfit at right is made from coat pattern 5051 over dress 4789.

Butterick coat pattern 5053 treats the female body as a long cylinder, although this pattern was available up to bust size 46 inches, which assumed a proportionately bigger hip measure.

Left, a “coat dress,” Butterick 5054, with embroidery pattern 10191; right, a mannish suit made from “sack coat” 5040, blouse 4790, and skirt 4753. Delineator, Feb. 1924, page 32.

The sack coat (as in the traditional sack suit worn by men) is shown with a Butterick hat pattern, 4973. From 1924.

Here’s another illustration of hat 4973, worn by a much more girlish model, from April of 1924.

This last coat, from the lower right side of page 32, is rather charming, perhaps because it looks more like the fashions to come:

Butterick coat pattern 5032, Delineator, February 1924.

The model is drawn as a teen; her hem shows just a bit more leg, and the coat’s pin-tucked trim on cuff and collar hints at an Art Deco influence.

Butterick coat 5032 — with a swirling button — and cloche hat pattern 4973 again.

When I look at these styles, I can hardly wait for the “real” twenties to begin. As in the 1960’s, styles favored by young women and teens became dominant as the decade progressed.

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Butterick Vacation Wardrobe for $25, 1933

You could make a complete summer vacation wardrobe — six outfits — for just $25 from a set of Butterick patterns. Delineator magazine, May 1933, p. 69.

The Butterick company’s target market in the 1920’s was upscale; there were regular reports on French fashions, and even a new column giving women financial advice during the stock market boom of the late twenties. But in this Depression Era article from May, 1933, the emphasis is on economy.

The accessories suggested include some rather elegant shoes, a sweater, and, as explained in the text, only one hat that you couldn’t make for yourself.

I’m not surprised that those shoes were expensive.

A Store-bought black straw hat for summer, 1933. Delineator, May 1933, p 69.

A store-bought sweater and a home-made hat, May 1933; Delineator.

Other gloves and hats could be made from Butterick patterns:

Butterick glove pattern 5135, hat pattern 5126, and clutch purse No. 3131. Delineator, May 1933.

Notice the extended shoulders on most of these clothes.

Butterick Skirt 4908, worn with a sweater and coat 5043; next, dress 5019  in a fine print; “tennis dress” 5104 made in white; and afternoon dress 5095 in a floral print voile fabric. May, 1933. Delineator magazine.

In addition, a print suit (a dress plus jacket) and a “Letty Lynton” – influenced evening gown were part of the twenty-five dollar wardrobe.

Butterick evening gown pattern 5069 from May, 1933.

The stiff, sheer layered sleeves show the influence of Adrian’s design for Joan Crawford in the film Letty Lynton.

Butterick jacket dress 5107, 1933.

The $25 budget didn’t include accessories, not even the ones made from Butterick patterns.  However, there is an emphasis on the need for wardrobe planning:  coordinating your pieces so that they can all be worn with either black or white accessories. (And, if you could afford a vacation in 1933, setting some limits would definitely make packing easier.)

The cost per outfit of making the $25 wardrobe. Delineator, May 1933. Page 69.

The cost of the Butterick patterns themselves ranged from fifty cents (the jacket dress or the evening gown) to thirty-five or forty-five cents for the other dresses, and twenty-five cents for the hat pattern, which included three styles. I wonder if the big, stylish buttons were included in the price estimates.

In 1936, a woman fresh out of college could expect to earn about $80 per month. According to one article, on this salary, she could even afford to take a vacation…. https://witness2fashion.files.wordpress.com/2014/03/1936-oct-working-college-grad-woman-budget-end.jpg?w=500

She can “join a savings club and see the world. Happy landing, we say.” — Woman’s Home Companion, October 1936.

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Hats and Dresses for Young Women, April 1924

The young woman at left wears Butterick dress pattern 5141 with Butterick hat pattern 4973. (The cape can be removed; it buttons on.) The frilly cloche worn with Butterick dress 5167 is presumably store-bought. Delineator, April 1924, page 36.

One of the pleasures of pattern illustrations in old magazines is seeing the accessories that accompany them. I especially enjoyed these 1924 hats and dresses for “Misses age 15 to 20” (and for “smaller women.”) Some of the hats are actually illustrations of  Butterick patterns. Other hats and accessories seem to be drawn (in both senses) from a selection kept on hand at the Butterick offices.

A satin dress topped with a wide brimmed hat. Butterick dress 5173, Delineator, April 1924. Page 36.

I’ll show most of  these outfits in full at the end of this post; first, I’ll show the hat details.

This Butterick dress with cape is pattern 5099. April, 1924. The cascade of roses on the hat would be easy to duplicate.

This wide-brimmed hat has a free-form pattern on the band. It’s worn with a tunic and slip combination, Butterick 5155. April 1924, Delineator.

Right, a simple cloche with an oddly cut front brim is shown with a plaid dress and decorated gloves. Delineator, April 1924, p. 36.

At the top of page 37, a gored cloche hat pattern (Butterick 4973) is shown with a caped dress pattern, Butterick 5070. Delineator, April 1924. I love the rose inside the brim of the hat worn with dress 5136.

As on dress 5141, at the top of this post, the short matching cape on pattern 5070 is optional.

Butterick dress 5145 is decorated with a large monogram (from a Butterick embroidery transfer.) The hat is Butterick pattern 4449. April 1924. Note the wallet-like clutch purse with a handy strap on the back.

Two ways of trimming a cloche hat; shown with Butterick dresses 5114 (left) and 5082. Delineator, April, 1924, p. 37.

Clusters of cherries cascade from the hat worn with Butterick dress 5159. Delineator, April 1924, pg. 37. The dress is made from fabric printed with large roses, shown later in this post.

A pleated frill trims the front of this cloche, like a 20th century version of the fontange. Butterick dress 5165 is probably an afternoon dress. April 1924.

Another Butterick hat pattern, No. 4886, is worn with a coat (Butterick 5120) and matching skirt (Butterick 4983.) Delineator, April 1924.

For those who are curious about the dresses, here are some full-length images:

Butterick 5481 and 5167, Delineator magazine, page 36, April 1924. Even on very young women, the hems are still several inches below the knee. The hips are made snug with tucks and buttons [!]

Page 36, top right: Butterick 5076, 5151, and 5173. Delineator, April 1924.

Top of page 37; Delineator magazine, April 1924.

Bottom of page 37, Delineator, April 1924.

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Fringe Fashions, December 1918

Old copies of Delineator magazine always have surprises that catch my eye.

December fashions, Delineator, 1918, top of p. 64

December fashions, Delineator magazine, 1918, top of p. 64. Butterick patterns 1276, 1260, 1255, and 1243.

Parts of the December 1918 issue were probably ready to print before the Armistice was announced on November 11, and the magazine contains many references to World War I.

Butterick doll clothing for a soldier, 402, and a sailor, 403. Delineator, December 1918.

Butterick doll clothing: “boy doll’s military suit,” pattern 402, and “boy doll’s sailor suit,” 403. Delineator, December 1918. This woman’s “one-piece dress” pattern was available up to size 44.

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But the “theme” of the month seems to be fringe. Here is the bottom of the same page:

Butterick patterns for women, December 1918. Two are fringed, and the gold dress is trimmed with black monkey fur. Delineator, p. 64.

Butterick patterns for women, 1283, 1294, and 1305. December 1918. Two are fringed, and the gold dress is trimmed with black monkey fur. Delineator, p. 64.

Pattern descriptions for Butterick 1283, 1294 and 1305, December 1918. Delineator.

Pattern descriptions for Butterick 1283, 1294 and 1305, December 1918. Delineator.

Fringe could be light-weight, like chenille, or made from heavier silk or cotton. I have encountered monkey fur coats in costume storage. [Eeeeeek. Just as unpleasant as having the paw fall off a vintage fox fur stole.]

More fashions with fringe appeared on page 63:

The blue dress is fringed; the other is trimmed with fur. Delineator, Dec. 1918,. p 63

The blue dress (1278) is trimmed with fringe; the other outfit (blouse 1259 and skirt 1105) is trimmed with fur and decorative buttons. Delineator, Dec. 1918, p 63. Two different muff patterns were illustrated, 1190 and 9517.

In addition to keeping your hands warm, a muff often had an interior pocket that functioned as a purse.

Two more fringed day dresses, Dec. 1918. Delineator, p 63.

Two more fringed day dresses, Dec. 1918. Delineator, p 63. Butterick 1253 and waist/blouse 1263 with skirt 9865. No. 1253 is illustrated in satin; waist 1263 is in velvet, worn over a satin skirt.

More fringe from December 1918:

Butterick patterns illustrated in Delineator. Dec. 1918, page 65.

Butterick patterns illustrated in Delineator. Dec. 1918, page 65. Fringe trims the center two.

Butterick patterns in Delineator, page 71, December 1918.

Fur or fringe trims these Butterick patterns in Delineator, page 71, December 1918.  Women’s dresses No. 1294, 1309, and 1285.

Butterick patterns, Delineator, Dec. 1918, p. 68.

Butterick patterns, Delineator, Dec. 1918, p. 68. The shape of the skirt is determined by the high-waisted, curve-flattening corset of the era.

Fringe hangs from the pockets of a skirt, Delineator, Dec. 1918, p. 68.

Fringe hangs from the pockets of a skirt, Delineator, Dec. 1918, p. 68. Butterick blouse 1306 with skirt 1226. Shirt-waist pattern 1279 with skirt of suit 1101.

In October, Butterick suggested a fringed wedding gown, pattern 1169, shown again in November in a dark, velvet version:

Left, wedding gown 1169, Butterick pattern from October 1918; right, the same pattern in velvet, worn for a formal occasion. (November, 1918.)

Left, wedding gown 1169, Butterick pattern from October 1918; right, the same pattern in velvet, worn for a formal daytime occasion. (November, 1918.)

If you weren’t ready to go wild with fringe, you could carry a subtle fringed handbag instead of a muff.

Winter coats from Butterick December 1918. The woman in the center carries a matching striped muff; the woman on the right carries a fringed handbag. Delineator, December 1918, p. 66.

Winter coats from Butterick December 1918. The woman in the center carries a striped muff (Butterick 1266) to match her coat; the woman on the right carries a fringed handbag (Butterick pattern 10720.) Delineator, December 1918, p. 66.

The coat on the right is a reminder that the “Barrel skirt” or “tonneau” was [to me, inexplicably] in fashion for a while.

 

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Simple, Glitzy Tops from the 1940s

A variety of McCall patterns from the 1940's showed glittering trim on simple tops.

A variety of McCall patterns from the 1940’s showed glittering trim on simple tops.

In the forties, McCall offered several patterns for simple tops which could be raised to evening wear status with sequins or beading. “Afternoon-evening” style implied a fashion that could be worn for dates when combined with your daytime business suit; a simple change of blouse and the working woman or traveler was ready for cocktails, dinner, and dancing.

McCall 1192 had an attractive back, too. The cap shoulders are a style that returns periodically.

McCall 1192 had a decorated back, too. The cap shoulders are a style that returns periodically. “Just two pieces to this blouse.”

No. 1192, from 1945, was still featured in the needlework catalog for May, 1950. It included an embroidery transfer and  instructions for applying the sequins one at a time, although you could also purchase strands of sequins by the yard.

How to stitch sequins or do a decorative embroidery stitch. McCall 1192.

How to stitch sequins or do a decorative embroidery stitch. McCall 1192.

You could also work it in bugle beads, or in six-strand cotton embroidery thread “for a  more restrained effect.” A simple chainstitch was also recommended. Most of the ornamentation would be done before before sewing the side seams.

Description of McCall 1192.

Description of McCall 1192. Embroidery transfers came in blue, for visibility on most light colors, or yellow, for use on dark colors.

McCall pattern 1283, from a 1946 catalog. The blouse is simple, but the sequin trim is glamorous.

McCall pattern 1283, from 1946. The blouse is simple, but the sequin trim is glamorous. Making a long skirt in matching fabric would give you an “evening gown” that could be varied with other tops.

The rows of sequins suggest necklaces. The sash seems to be attached in the back, and brought around to tie in front. [If I were making this blouse, I’d add more fabric to keep it tucked in at the waist.]

McCall 1283, circa 1946. A handbag pattern was included.

McCall 1283, circa 1946. A handbag pattern was included. “For daytime wear, trim with fine rickrack and wear under suit jackets. One of the ‘musts’ for that special weekend or vacation and so easy to pack.”

There was a time when a lady did not wear sequins in the daytime. However, late afternoon and the cocktail hour permitted a bit of sparkle.

Witness to Fashion note:  The wearing of metallic fabrics, rhinestone-studded clothing, and sequins during daylight hours was only beginning to be acceptable in the early 1970’s. I remember walking to breakfast with my husband in Hollywood one morning about nine; a woman passed us wearing tight jeans, high wooden platform heels, and a strapless sequinned stretch top, called a tube top. “Was she — or wasn’t she — a prostitute?” I asked to my spouse, figuring a man might pick up signals I was missing.  He looked utterly bewildered when he admitted, “I don’t know!” A few years earlier, we would have had no doubts.

Many forties’ dresses for late afternoon and evening have subtle sequin trim; some are not so subtle.

Vintage black dress with black sequin trim, 1940s. (It photographed navy, but it was black.)

Vintage black dress with black sequin trim, 1940s. (It photographed navy.)

500-v175-dress-front

A short forties’ party dress trimmed with green sequins and cream-colored seed beads. [A black petticoat visible near the hem is not part of the dress.]

Detail: a spray of flowers made from sequins on a vintage dress.

Detail: a spray of flowers made from sequins and beads on a vintage dress.

Black vintage dress with a sunburst of beads.

Black vintage dress with a “necklace” and sunburst of sequins.

Another late forties detail:  This blouse has beading around the neckline, suggesting a necklace.

McCall transfer No. 1408 used beading to transform a very simple blouse into a sparkling one. You wouldn't need to carry jewelry if you packed a blouse like this.

McCall transfer No. 1408 used beading to transform a very simple blouse into a sparkling one. You wouldn’t need to carry  jewelry on vacation if you packed a blouse like this.

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Using an embroidery hoop,  organza, tissue, (or modern tear-away stabilizer) to keep the fabric from stretching makes applying these trims easier.

In 1950 you could choose among several neckline beading designs:  a bow, a pendant, etc.

More neckline beading designs from McCall. Pattern 1491.

More neckline beading designs from McCall. Pattern 1491.

A bow on your shoulder of a "brooch" could also trim your dress or suit jacket. McCall 1491.

A bow on your shoulder or a beaded “brooch” could also trim your dress or suit jacket. McCall 1491.

More beading patterns for blouses, dresses and suits. McCall pattern 1314.

More beading patterns for blouses, dresses and suits. McCall pattern 1314. (From 1947.)

Gold or iridescent beads were available, but many of these patterns were used very subtly, in black on black, bronze on brown, blue on blue, etc. The square pattern below would turn a simple wool crepe suit into an elegant one, if you worked it in beads or shiny thread on the pockets.

A square beading pattern like this would be subtle in black beads on a black suit jacket. Variations could be used on the neckline of a wool dress or the collar of a suit jacket. McCall 1314.

A square beading pattern like this would be subtle in black beads on a black suit jacket. Variations could be used on the neckline of a wool dress or the collar of a suit jacket. McCall 1314.

If you’re tempted to make a dressy forties’ blouse, remember how often sparkle was added to day-into-night clothing. Pick a simple style, and let the ornamentation supply the sophistication.

McCall 1404: simple linger sleeved blouses embellished with rays of sequins at the neck.

McCall 1404: simple longer-sleeved blouses embellished with glittering rays at the neck. Late forties.

1404-may50-p-36-long-sleeve-bouuse-with-rays-of-sequins-around-neckline-text626

McCall 1293 for a vestee, a timeless halter top, a hat and a bag.

McCall 1293 included a vestee, a timeless halter top, a hat and a bag. Dated 1946.

Picture that 1940’s halter with evening trousers or a short lace skirt; if you found it in a thrift store, would it scream “1946” to you?

McCall 1293.

McCall 1293 included this Juliet cap and evening bag. This cap would not work over high forties’ hairstyles, but was perfect over a close-to-the-head fifties’ cut.

A sequinned monogram on a blouse or dress was also worn by many — although I wonder whether monogrammed gifts are always appreciated by the recipient….

McCall transfer pattern 1339 supplied 5 inch high initials to work in sequins or embroidery thread.

McCall transfer pattern 1339 supplied 5 inch high initials to work in sequins or embroidery thread. (1947) Swing, anyone?

If you like the idea of adding sparkle, but not too much, consider an applique. I used to own several forties’ dresses which had bodice (and sometimes skirt) appliques of flowers — cut from printed material — and outlined or delicately accented with sequins. This dress does not have sequins, but a few on the appliqued tulip — clear or matching the colors — wouldn’t be out of period.

This vintage dress has a solid rayon crepe bodice, a floral printed crepe skirt, and one motif -- a tulip -- from the skirt fabric appliqued to the bodice. A few sequins on that tulip would be fine.

This vintage dress has a solid rayon crepe bodice, a floral printed crepe skirt, and one motif — a tulip — from the skirt fabric appliqued to the bodice. A few sequins on that tulip would be fine.

Obviously, this mannequin was too small for the dress; the flared, bias-cut skirt should hang from the natural waistline. A narrow self-belt probably accompanied this dress, but has been lost.

It’s not too late to make your forties’ style  holiday party blouse or dress!

 

 

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Dresses for Teens and Young Women, October 1924

In 1924, dresses were still longer than our usual image of the nineteen twenties — even dresses for young women, who were usually illustrated in the shortest styles.

A page of dresses for Teens and young or small women, Delineator, October, 1924, p. 29.

A page of dresses for teens and young or small women, Delineator, October, 1924, p. 29.

For their back views, see the end of this post.

This group reminds us that there are fashions in color combinations, as well as in cut. In 1924, Orange and navy, or orange and black, did not evoke Halloween. Dellineator, Oct. 1924.

This group reminds us that there are fashions in color combinations, as well as in cut. In 1924, orange and navy, coral and black, or green with orange and black did not evoke Halloween. Delineator, Oct. 1924.

These dresses look very long, but any of them might have been skillfully shortened and worn later in the decade. Delineator, Oct. 1924.

These three dresses look very long, but any of them might have been skillfully shortened and worn later in the decade. Delineator, Oct. 1924.

The evening dresses would have needed a clever remodel around 1926 — cutting them at the 1926 hip or waist line, and raising the lower part of the skirt. The new seam could have been hidden with a sash or belt, too. The tunic dress at right might have simply discarded the underskirt.

Butterick also offered many cloche hat patterns — and tam-o’-shanters — during the twenties — including two that were shown with these dresses.

A Closer Look at These 1924 Dresses and Hats

Butterick 5487, dress pattern from Delineator, Oct. 1924, p. 29.

Butterick 5487, dress pattern from Delineator, Oct. 1924, p. 29. “Plaited” means pleated, not “braided.” Its scarf collar seems to end in a long fringe. This pattern was also available in Ladies’ sizes, usually 34″ to 44″ bust. The bird-trimmed hat is not a Butterick pattern, but it does have comic possibilities! [A hat trimmed with stylized bird silhouettes would be a little less old-fashioned than this flock circling her head.]

Butterick pattern 5528, for an evening dress trimmed with feathers. Delineator, Oct. 1924.

Butterick pattern 5528, for an evening dress trimmed with feathers. Delineator, Oct. 1924. A light, floating effect was recommended for dancing.

If you’re wondering what size “16 to 20 years” means, click here.

Butterick pattern 5550, from Delineator, Oct. 1924.

Butterick pattern 5550, from Delineator, Oct. 1924. “Silver, beige, or colored lace is new…” There is an interesting free-swinging back detail trimmed with a large tassel; but only the bottom layer of ruffles continued around the back. Available up to bust size 38 inches.

“It is worn over a slip of flesh-pink satin veiled with flesh-pink chiffon trimmed with lace.” This suggests that the impression of a nude body glimpsed through the lace was the goal. Other lining colors were, of course, possible — tan, coffee, pale blue, yellow-green, etc. In the image below, it appears that the chiffon-over-satin layer was visible at the sides.Back trim on evening dress 5550. The trim begins with the straps in front, and exctends into a long tassel, with a surprise lining of pink.

Back trim on evening dress 5550. The trim begins with the straps in front, and extends into a long tassel, with a surprise lining of strong pink, and plenty of beads or pearls.

Butterick dress pattern 5511 and hat pattern . Oct. 1924, Delineator.

Butterick dress pattern 5511; Oct. 1924, Delineator. Velvet, trimmed with fur, and with long fringe extending the collar. The length of the gloves works surprisingly well with the short sleeves.

There are “fine plaits at each side,”  [tucks?] making the dress fit more closely at the hip. This dress from 1926 has the same “plaits” at the hip.

Butterick dress pattern 5536 with Tam-o'-Shanter pattern 5458. October 1924.

Butterick dress pattern 5536 with Tam-o’-Shanter pattern 5458. October 1924. Tam 5458 was featured in several issues of the Delineator.

“It is the new narrow type [as] close fitting at the hips as one can sit down [in.]” It closes at the side front, like a Russian shirt. The pattern description suggests making it in dark brown with a contrasting scarf. In an era when ladies still did not go shopping or to work without wearing a hat, the soft, crushable Tam-o’-Shanter was especially popular with girls and young women.

Descriptioin of Butterick tam pattern No. 5458, Delineator, September 1924.

Description of Butterick Tam-o’-Shanter pattern No. 5458, Delineator, September 1924. Another use for a very long tassel.

For more about 1924 Tam-o’-Shanters, click here. For Part 2 of Tams for 1924-25, click here.  For a brief history of the Tam, click here.

Butterick dress pattern 5489, October 1924.

Butterick dress pattern 5489, October 1924. The orange braid on the sleeves is applied in the pattern available as Butterick embroidery transfer #10175. This dress has a gathered skirt attached to a long bodice, called a basque. See back view below.

No. 5489 could easily have been shortened at the hem and worn in 1926, when hemlines approached the knee. Its proportions could have been improved by raising the waist line as well, but it wouldn’t have been necessary.

Butterick dress pattern 5546, Oct. 1924.

Butterick dress pattern 5546, Oct. 1924. “It is new to use the shiny side of crepe satin and bind the edges of the bias bands with the dull side, or reverse this order….” However, the illustration seems to show black trim; a pale border this narrow would have been lost in the small printed image.

Butterick dress pattern 5485 and hat pattern 5561. Delineator, Oct. 1924.

Butterick dress pattern 5485 and hat pattern 5561. Delineator, Oct. 1924. “For the wrap-around hat use velvet, etc.” Is that a miser’s purse in her hand?

Butterick hat 5561, 1924.

Butterick hat pattern 5561, from 1924. “The hat which ties around the head to form a trimming at the side is typically French.”

I  don’t see any knot, or other sign that it literally ties, in this illustration. This hat appeared in several issues. The side views make it look as though the velvet whatever-that-is-on-the-side is wired and possibly twisted, but not “tied.” It does look, in the side view, as if the front brim extends into a long point which is twisted up, and the back brim has a shorter extension which twists down.  I am glad I don’t have to make it, because I’m not at all certain I understand it!

Butterick hat pattern 5561 was illustrated several times in 1924.

Butterick hat pattern 5561 was illustrated several times in 1924. I’m not sure the illustrators were really clear on how that side piece worked, either.

Butterick’s cloche hats were usually either four or six gored. I wrote about another cloche hat pattern from 1924 here.  (The variety of easy trims on that one attracted me.)

Here are the back or alternate views for seven of these dresses.  The back of No. 5550 was illustrated in color and shown earlier.

Back and alternate views of Butterick

Back and alternate views of Butterick patterns 5487, 5526, 5511, 5536, 5589, 5546, and 5485 from October 1924.

Dresses cut like No. 5489 are often seen in silent movies, but they are usually tightly fitted, with an opening in the left side seam; or the actresses may have been stitched into their evening dresses by hand.

 

 

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