Category Archives: handbags

“Zip” — Slide Fasteners from Sears, 1930s (Part 1)

Thanks to reader kellycb for wondering about the brands of zippers sold through the Sears, Roebuck catalog. I thought I could do a quick search through the 1930’s Sears catalogs available through Ancestry.com. [All images in this post which are labeled “Sears” are copyrighted by Sears Brands LLC. Please do not copy.]

Zipper brands available from Sears in 1939 included Talon, “Standard”, and Crown. Earlier catalogs also sold Koh-i-noor slide fasteners, snaps, and  hook and eye tape.

I was quickly able to find that Sears sold Talon Hookless Slide Fasteners, and “Crown” fasteners — possibly a house brand, since Sears also sold Crown fabrics. But that’s not what soaked up two days of my browsing time. It was the constant use of the word “Zip” to indicate a slide fastener.

Zip: Slide fasteners sold through the Sears catalog, Spring 1935. Sears image via Ancestry.com

Technically, advertisers could not call a slide fastener for a garment a “zipper.” But the American public apparently did refer to them as zippers, so the word “zip” — not copyrighted — appears quite often.

The word “zipper” was owned by the B.F. Goodrich company.

https://witness2fashion.files.wordpress.com/2014/02/1928-dec-p-67-500-zipper-boots-ad.jpg?w=378&h=500

B.F. Goodrich Zipper Ad, December 1928, Delineator magazine

Originally the “Zipper” was a winter overshoe (rain boot) that closed with a slide fastener, made by the B.F. Goodrich rubber company. As I wrote is a previous post, “by 1922 Goodrich had launched their “Mystik Boots,” which closed with Hookless [brand] slide fasteners instead of snaps or buckles. They were such an immediate success that B.F. Goodrich Company asked Hookless for exclusive rights to use their fasteners. In 1923, the Mystik Boot was renamed, to draw attention to the ease with which they were put on and taken off.

“What we need is an action word,” said company president Bertram G. Work, “something that will dramatize the way the thing zips.” He quickly added, “Why not call it the zipper?” – from The Evolution of Useful Things, by Henry Petroski, p. 111.

The word “zip,” indicating speed or energy, was already popular slang.

These 1930 trousers for young men and boys had “zip and dash,” but they did not have what is now called a zipper. The fly closed with buttons. Sears image via Ancestry.com.

You could zip around town in your car or on a bike. “Zip” was also the name of a hair remover that had been in use since the twenties.

Zip hair remover ad from Delineator, November 1924. “Zip — It’s off because it’s out.” “You actually destroy the growth by gently lifting out the roots — painlessly and harmlessly.” [That’s what it says….]

In Akron, Ohio, where Goodrich “Zippers” were manufactured, a college football team is still called the Zips.

The speed with which the name of a trademarked product — the Zipper boot — became the standard American noun meaning “slide fastener” amazed me.

Anyone who is seriously interested in the history of the slide fastener, now usually called a zipper, should know about Robert Friedel’s book, Zipper: An Exploration in Novelty, which has been described brilliantly by The Vintage Traveler. (Click here for her “Currently Reading: Zipper: An Exploration in Novelty“. The Vintage Traveler also showed many ads for  zippers in her “Zippers, Part II.”

As Friedel explains, early slide fasteners were put into production and sold before they were perfected [rather like some software today.]  One problem with the early slide fasteners was that they worked as long as they remained perfectly straight — but sitting usually causes the fabric in a skirt placket or trouser fly to bend. Twenty years later, people who had been publicly embarrassed by a broken slide fastener were not eager to try the improved versions in their clothes.

A Hookless Fastener is featured on this man’s suede jacket (called a blouse) in the Sears catalog for Fall, 1930. “Zip it’s on — Zip it’s off! — that’s the quick modern way to dress….”

Menswear quickly adopted slide fasteners in sports jackets and work shirts, but resistance to replacing button-fly trousers with zipped flies continued till the late 1930’s.

Sears offered many clutch bag models with zippered compartments, and handbags with concealed zip interior pockets. Fall, 1930. The Hookless Fastener Company was now better known as Talon.

Slide fasteners worked well on straight openings: clutch handbags, mail bags, boots and leggings, even sleeping bags.

A boy’s jacket from Sears, Fall, 1927, closes with a Hookless slide fastener. “Zip! — just a simple jerk on the patent hooker and it’s snug around your neck. No buttons to bother with and we guarantee it to work every time.” Judging from the need to explain, this really was “Something New” in 1927.

One brilliant approach to selling slide fasteners urged their use in children’s clothing to make children more self-reliant. (See “Zippers Are Good for Your Children.” A bonus: children didn’t remember those embarrassing old zippers!)

“Put in Zips so she can dress herself — Even tiniest tots manage them.” Sears catalog, Spring, 1939.

Regardless of B.F. Goodrich, the word zipper did get used by other sources:

Here, the Sears catalog for Fall, 1929, suggests making children’s winter leggings with a “zipper  side fastener.” (Leggings with dozens of buttons must have been a nightmare for Kindergarten teachers.)

These trousers — which did have a zipper fly — were aimed at young men with waists 26 to 32 inches:  “College Styles” “for youths.”

Sears offered these trousers “featuring the FLASH Slide Fastener” in Spring of 1935. The extremely wide legs — sometimes called “Oxford bags” — were a young man’s fashion.

Slide fasteners also made an early appearance in girdles and corsets.

“Zip! It’s Open!” The woman on the right is enjoying the ease of a zippered girdle; the woman on the left wears a corselet closed with hook and eye tape. Sears catalog, Spring 1932.

Slide fasteners were used in sports clothing and work clothing before 1936, but they seem to be most often used on relatively heavy fabrics, like leather, wool, corset coutil, and sturdy cottons.

This “Pic-Pon Cord” cotton dress from Sears has a “zip closing;” Sears catalog for Spring, 1935.

Also made from corduroy is this woman’s jacket from 1933.

Zipper neckline closing on a “Sporting Life” jacket for women from Sears, Spring 1933. Its “popular, practical zipper closing” uses a “Jiffy” Fastener.

According to the catalogs, this was Sears’ most popular work dress for women, and in 1935 it was offered in the traditional button front or (“More Style! More Comfort!”) with a zip- closed front.

From the Fall, 1935 Sears catalog: a sturdy work dress. The “new, improved” version with the zipper (right) cost more; zippers were relatively expensive.

The 1935 “Zip-Closed Front” work dress cost twenty cents (20%) more — a zipper cost about 20 cents.

By 1937, the “zip close” version was featured more prominently than the buttoned one.

In Sears’ Spring catalog for 1937, the work dress with a zipper was more prominent.

The zipper made a transition from sports and house dresses to dressier women’s clothing by 1937. Several Paris designers began showing dresses with visible zippers in 1935-36; Schiaparelli put visible plastic zippers right on the front of her dresses.  However,  I found a Vionnet design from 1929 that had a prominent zipper front closing. It was copied by Butterick as pattern 2526.

https://witness2fashion.files.wordpress.com/2014/03/1929-march-p-27-couture-vionnet-zipper-e-skirt.jpg?w=318&h=500

A Vionnet ensemble sketched for Delineator magazine in 1929 has a prominent zipper on its front.

Butterick also offered a different dress pattern that was featured in advertisements for the Talon Hookless Fastener in 1928-29.

Here’s a closer look at Sears’ [rather limited] Slide Fastener selection from 1935:

“Zip;” slide fasteners available from the Sears catalog, Spring 1935. Customers were assured that these stayed shut (“locks in any position.”) They were also washable and rustroof — unlike early hookless fasteners which had to be removed before washing your garment.

The concealed “Kover-Zip” slide fastener from Koh-i-noor was available in separating or non-separating versions. Its zipper teeth were completely concealed by a color-fast grosgrain cover. It was a luxury item, more than twice the price of a “Standard slide fastener.” Sears’ Zipper colors were limited to black, brown, tan or white.

In 1935, the zippers were recommended for “finishing sport-wear, blouses [like the man’s suede “blouse” shown above], children’s garments” (the Kover-Zip) or in “sturdy quality for sport coats, sweaters, children’s suits, dresses.” In other words, they were for casual and practical garments, usually made of heavy fabrics.

Men’s shirts with zip fronts; Sears catalog, Fall, 1937.

After the Paris collections of 1935-36, zippers were about to undergo a rapid change for the better. (See “Zip” Part 2, coming soon.)

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Filed under 1900s to 1920s, 1920s, 1920s-1930s, 1930s, 1930s-1940s, Children's Vintage styles, Corselettes, Corsets, Corsets, Corsets & Corselettes, Foundation Garments, Girdles, handbags, Men's Sportswear, Old Advertisements & Popular Culture, Purses, Shirts for men, Uniforms and Work Clothes, Zippers

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.

text-patterns-1276-402-403-1918-dec-p-65-dec-1918-btm-text

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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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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Summer Dresses from Butterick, July 1918, Part 2

Summer fashions from Butterick, Delineator, July 1918, page 51.

Summer fashions from Butterick, Delineator, July 1918, page 51.

These summer outfits — with one exception — are really blouse and skirt combinations. The blouses deserve a close-up look:

Butterick blouse patterns 9999 and 9997, Delineator, July 1918, p 51.

Butterick blouse patterns 9999 and 9997, Delineator, July 1918, p 51.

9995 and 1011, with skirts 1028 and 1001. The bag, with tassel trim, is Transfer pattern 10370. Delineator, July 1918, p. 51.

Butterick blouses 9995 and 1011, with skirts 1028 and 1001. The bag, with tassel trim, is Transfer pattern 10670. Delineator, July 1918, p. 51.

These sheer overblouses are smocked to provide a little fullness over the bust. "Smock or Blouse 9994 and Blouse 1012. Delineator, July 1918, p. 51.

These sheer overblouses are smocked to provide a little fullness over the bust. “Smock or Blouse” 9994 and “Smock or Blouse” 1012. Delineator, July 1918, p. 51.

Dress 1007 is bluish, with a slight teal or gray tint. Its pockets and hem area are either embroidered or use soutache braid as a trim. Butterick sold the transfer pattern for such embellishments: No. 10692.

Butterick dress pattern 1007, from July 1918, Delineator.

Butterick dress pattern 1007, from July 1918, Delineator.

Page 50, which had all the pattern descriptions, also showed three additional outfits in black and white illustrations:

Butterick patterns from Delineator, July 1918, p. 50. From left, Blouse 1025 with skirt 1020; dress 9934, and dress 1019.

Butterick patterns from Delineator, July 1918, p. 50. From left, Blouse 1025 with skirt 1020; dress 9934, and dress 1019.

Here are all ten outfits, with their original descriptions and alternate views — which are often quite different from their color illustrations.

Butterick blouse 9999 and skirt 9991, July 1918.

Butterick blouse 9999 and skirt 9991, July 1918.

The alternate view shows a very different, high necked version of the blouse; the U-shaped neckline was a fairly recent fashion, so the high-necked version was aimed at older or more conservative dressers.

Butterick blouse 9997 and skirt 1013, July 1918.

Butterick blouse 9997 and skirt 1013, July 1918.

The skirt pattern was available in waist sizes 24 to 38 inches. The alternate view has a “Peter Pan collar.” The actress Maude Adams toured extensively in the play Peter Pan, setting a fashion. Click here to see her Peter Pan collar. Click here to see more about this Turn-of-the Century beauty with a brain.

Butterick Smock or Butterick dress pattern 1007. Delineator, July 1918.

Butterick dress pattern 1007, July 1918. The illustration of the alternate view shows a high collared insert — perhaps a dickey or vestee?

Dress pattern 1007 came in a larger than usual size — 46″ bust — and has a surplice closing “becoming to every woman, whatever her age,”  so it was expected to appeal to older women, too. During World War I, Delineator fashion writing often used military phrases, such as “maintains the morale,” “obeys all orders,” and “dangerous to mankind.” (See Up Like Little Soldiers for more examples of jingoistic fashion writing.)

Butterick Smock or Blouse 1012 with skirt 9723. Delineator, July 1918.

Butterick Smock or Blouse 1012 with skirt 9723. Delineator, July 1918.

Notice that the fancy, smocked pocket is shown as part of the skirt pattern, although it is on the smock in the color illustration. This skirt is gathered in back, and forms a header/ruffle above the waistband. This smock is also shown with a Peter Pan Collar (or it may be a long Buster Brown…. see below.) If not made in sheer fabric, would it be a maternity top?

Another Smock or Blouse pattern from Butterick, No. 9994. This sheer blouse is shown over a "Foundation" -- a slip like underdress, meant to show. July 1918.

Another Smock or Blouse pattern from Butterick, No. 9994.  Foundation 9842. July 1918.

This sheer blouse is shown over a “Foundation” — a slip-like underdress, meant to show; the foundation looks more like a lingerie slip in the alternate view.

Butterick blouse 9995 with skirt 1028. Delineator, July 1918.

Butterick blouse 9995 with skirt 1028. Delineator, July 1918. The skirt was available in waist measurements 24 to 38 inches.

Butterick blouse 1011 and skirt 1001, July1918.

Butterick blouse 1011 and skirt 1001, July, 1918. More smocking gathers the bodice. This alternate view shows a “Buster Brown collar.

Buster Brown shoe ad, Nov. 1917. Delineator.

Buster Brown shoe ad, Nov. 1917. Delineator.

Butterick blouse 1025 with skirt 1020. July, 1918.

Butterick blouse 1025 with skirt 1020. July, 1918.

Butterick dress pattern 9934, from July 1918.

Butterick dress pattern 9934, from July 1918. The bodice can be made with either front or back closures, and “all of the most popular necklines.” The unusual sleeves were a popular style.

Her flower-covered hat has a sheer brim. (For others, click here or here or here.)

Butterick dress pattern 1019, July 1918.

Butterick dress pattern 1019, July 1918.

The hat shown in the middle of the page deserves a closer look. How did the wearer get through doorways, or into a car?

The hat is adorned with two feathers which appear to be ten or twelve inches taller than the hat.

The hat is adorned with two feathers which appear to be ten or twelve inches taller than the hat.

Perhaps the hatless lady in the foreground is making a comment?

Part 1 of Summer Dresses from Butterick, July 1918, is here.

 

 

 

 

 

 

 

page 51

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Filed under 1900s to 1920s, Accessory Patterns, bags, handbags, Hats, lingerie, Maternity clothes, Purses, Slips and Petticoats, Underthings, Hosiery, Corsets, etc, Vintage Accessories, Vintage patterns, Vintage Styles in Larger Sizes, World War I

Butterick Forecast Patterns, Fall 1927

I promised more details about Butterick  “Forecast” wardrobe patterns. Butterick’s Delineator magazine gave just one page to patterns 8 A through 8 D in October of 1927, and one page to patterns 9 A through 9 D in November. The fact that they cost $1 each — and had very strange pattern numbers — wasn’t mentioned. [But I still need to revisit those volumes….]

Incidentally, there is no consistency about these pattern numbers — the illustration might use a hyphen (9-A), while the text said (9A) and a space might be used in Delineator‘s pattern list (9 A). I wonder what the pattern envelopes said….

Butterick Forecast Wardrobe Patterns, October 1927

Butterick Forecast patterns 8 A through 8D, Delineator, p. 26, October 1927.

Butterick Forecast patterns 8 A through 8 D, Delineator, p. 26, October 1927. “The Smart Woman sees Each Costume as a Part of the Whole Wardrobe.”

Some recommended accessories were illustrated and described along with the patterns.

Butterick pattern 8 A, Delineator, Oct. 1927.

Butterick pattern 8 A, Delineator, Oct. 1927. Her bag seems to match her scarf.

8A 500 text1927 oct p 26

Butterick pattern 8 B, for a complex but lovely evening dress.

Butterick pattern 8 B, for a complex but lovely evening dress. Chartreuse Georgette fabric was suggested.

A large bar pin sits below the V neckline.

text 8B 1927 oct p 26 The purse, shoe, stockings, and optional flowers or necklace were also illustrated.

Two flowers made of organdie could be attached to the shoulder of the evening dress, or a necklace could be worn. 1927.

Two flowers made of organdie could be attached to the shoulder of the evening dress, or a fringe necklace of gold could be worn. 1927.

At first, I thought the necklet was inspired by Egyptian revival lotus buds, but you can see that they are individual long and short beads.

Very sheer stockings for evening wear might still have  pattern (called a “clock”) on their sides.

Sheer stockings for evening wear. Delinator, Oct. 1927.

Sheer stockings for evening wear. Delinator, Oct. 1927.

These nearly identical clocked formal stockings appeared in an ad for Kayser Hosiery three years earlier.

Sheer stockings with "clocks" for formal evening or bridal wear. Ad for Kayser Hosiery, Nov. 1924.

Sheer stockings with “clocks” for formal evening or bridal wear. Ad for Kayser Hosiery, Nov. 1924. Stockings were often matched to the color of the dress in the twenties.

 

Butterick pattern 8 C, October 1927, Delineator.

Butterick pattern 8 C, October 1927, Delineator.

frock 8C text 1927 oct p 26

A bag for daytime use, Oct. 1927 Delineator.

A bag for daytime use, Oct. 1927 Delineator.

top rt shoe glove1927 oct p 26 accessories and wardrobe 8A 8D 8C 8B not listed in chart top RThe bag and “slipper” (shown below) could be suede, lizard, or kid. The color of the gloves should match the color of the “guimpe” [a false blouse or dickey] under the dress. Fox fur “scarves” or neckpieces were widely worn, even with very lightweight, summery fabrics. Below, pattern 8 C is shown under the wrap coat, but made in a lighter color.

Butterick coat pattern 8 D from Delineator, Oct. 1927.

Butterick coat pattern 8 D from Delineator, Oct. 1927.

8D text coat 1927 oct p 26

Butterick Forecast Wardrobe Patterns, November 1927

top text1927 nov p 26 forecast wardrobe 9D 9C 9B 9A and accessories btm

BUtterick Forecast patterns 9 A through 9 D, Delineator, November 1927.

Butterick Forecast patterns 9 A through 9 D, page 26, Delineator, November 1927.

Outfits with the blouse trimmed in the skirt fabric appear often in Delineator illustrations from the late twenties. Pattern 9 A strikes me as probably unflattering to any woman, but it does look nice as an Art Deco drawing….

Butterick pattern 9 A, from Delineator, p. 26, November 1927.

Butterick pattern 9A, from Delineator, p. 26, November 1927.

9A text 1927 nov p 26 forecast wardrobe 9D 9C 9B 9A and accessories btmDresses with applied trim like this one were often made from two fabrics in the same color but of contrasting textures (e.g., velvet and silk), so the bands on the bodice would be a subtle change of texture rather than of light/dark values as illustrated here. Double-sided silk crepe used with matte and shiny sides out was popular.

BUtterick 1775, Dec. 1927, and 1705, Oct. 1927. Delineator magazine.

These dresses use both the matte and shiny sides of double-sided crepe satin. Butterick 1775, Dec. 1927, and 1705, Oct. 1927. Delineator magazine.

The skirt of 9A  is described as “two piece” and “flared front;” during most of the twenties, the back of a skirt or dress was cut straight, with all of the fullness — and walking ease — in the front. See the “front flare” coat below.

Butterick coat pattern 9 B from Delineator, Nov. 1927, p. 26.

Butterick coat pattern 9-B from Delineator, Nov. 1927, p. 26.

450 text coat 9B nov 1927 nov p 26 forecast wardrobe 9D 9C 9B 9A and accessories btm

Accessories for Nov. 1927.

Accessories for Nov. 1927. Delineator, p. 26.

The “Oxford” shoe above left was recommended for wear with dress 9A, and the three-toned shoe and envelope purse at right are suggested for dinner dress 9C, below:

Butterick 9 C with matching jacket for dinner or bridge. Delineator, Nov. 1927.

Butterick 9C is a sleeveless gown with matching jacket for dinner or bridge. Delineator, Nov. 1927. The wide rhinestone “necklace” and “cuffs” are not jewelry, but part of the dress and jacket. I love the sporty — but rhinestoned — jacket!

450 9C dinner 1927 nov p 26 forecast wardrobe 9D 9C 9B 9A and accessories btm“The embroidery in necklace and bracelet outline is new and important.” In the same month, Delineator showed this drawing of a “Necklace Dress” by couturier Jean Patou; the “necklace” was actually trim on the dress:

A "necklace dress" by Jean Patou, illustrated in Delineator, Nov. 1927. The three-strand false "necklace" is trim applied to the dress.

A “necklace dress” by Jean Patou, illustrated in Delineator, Nov. 1927. The three-strand false “necklace” is trim applied to the dress.

 

Butterick pattern 9 D from Delineator, Nov. 1927.

Butterick pattern 9-D from Delineator, Nov. 1927.

450 dress 9D1927 nov p 26 forecast wardrobe 9D 9C 9B 9A and accessories btmBias panels joined by fagoting were associated with Vionnet. This diagram gives you an idea of how it works:

https://witness2fashion.files.wordpress.com/2015/09/black-dress-squares.jpg?w=500The panels were connected by horizontal stitches over a space of an eighth to a quarter inch or so, leaving a tiny part of the undergarment visible. It meant the panels could move (slightly) independently. The dress would be worn with the bias in a vertical position. See a later vintage dress with fagoting as trim here.

Vionnet also used pin tucks to create diagonal lines across the front of dresses like this one, dated 1926-27 in the Metropolitan Museum collection. You could use double lines of pin tucks instead of fagoting to recreate Butterick 9-D.

 

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Filed under 1920s, bags, Dating Butterick Patterns, Dresses, Gloves, handbags, Purses, Vintage Accessories, Vintage Garments: The Real Thing, Vintage patterns