Category Archives: Purses

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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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.

1408-may50-p-37-text-only-bead-necklace-on-blouse

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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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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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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Dating Butterick Patterns Site Has Been Updated

Cover of Butterick Fashion News, October 1962. Image courtesy of PatternVault at ETSY.com

Cover of Butterick Fashion News, October 1962. Image courtesy of PatternVault at ETSY.com. Butterick pattern 2452 dated 1962.

My project for dating vintage Butterick patterns using Butterick Fashion News flyers (Click here for an explanation) has some new information, thanks to the input of generous readers. I finally have some pattern numbers for 1962, thanks to Sarah at the Pattern Vault, and I’ve been able to fill in some missing information for other years, too. (Thank you, Monica, at Panhandle-Plains Historical Museum in Canyon, Texas.)

Cover of Butterick Fashion News, July 1962. Image courtesy of PatternVault at ETSY.com.

Cover of Butterick Fashion News, July 1962. Image courtesy of PatternVault at ETSY.com. Butterick pattern 2343, from 1962.

I’ve been neglecting my search for covers of Butterick Pattern News lately, because the pattern dating at the Commercial Pattern Archive (CoPA) is so comprehensive. However, if you have a vintage Butterick pattern that looks 1920’s through 1970’s and want to date it, my numerical charts  at witness2fashion.com are easy to use. If you go to witness2fashion.com, under Dating Butterick Patterns 1937 -1977 you will find a chart like this one — but larger and easier to read.

Dating Butterick Patterns 1934 -1977 chart from witness2fashion.com.

Dating Butterick Patterns 1934 -1977 chart from witness2fashion.com.

You can see from this chart that simply by listing the date of a Butterick News Flyer and the number of the pattern on its cover, a numbering sequence can be established. Of course, some patterns remain available for sale in stores for a very long time, but if you’re not sure whether a pattern is late 1930s or early 1940s, for instance, this chart can help.

At witness2fashion.com earlier patterns are listed on another page:  Butterick patterns 1920’s to 1937. Click on those charts to enlarge them.

I’m especially grateful to Sarah, because I still have a few years without any data from Butterick Fashion News covers, and she was able to supply us with numbers from 1962, an important year.  Butterick pattern numbers  reached the high 9900s by November of 1961, so re-numbering was due to begin in 1962. Thanks to Sarah, we now know that the new number sequence (1962) seems to have begun in the two thousands, skipping the one-thousands.

Some years have no information at all from Butterick Fashion News covers. witness2fashion.com

Some years — like 1953 and 1963 — have no information at all from Butterick Fashion News covers — yet. Detail of Chart from witness2fashion.com

For some years — like 1953, 1955, and 1963 — I have not found any BFN covers, but we can deduce that the 6000 series began again in 1952, since No. 5934 was for sale in January 1952. Did numbers in the 1960’s 3000 series begin in 1963 or 1964? It would be nice to fill in that two-year gap from October 1962 (No. 2452) to October 1964 (No. 3288.) If you have a cover from a “blank” year, please send the date and front cover pattern number(s) to witness2fashion at gmail.com. Sarah scanned the covers, enabling me to share them.

In 1973, Butterick reached the end of the 6900s in March and began renumbering in the three thousands in April.

Renumbering begins in 1973. Cover pattern numbers from Butterick Fashion News.

A new numbering cycle began in mid-year, 1973. Cover pattern numbers from Butterick Fashion News.

Starting a new number sequence before reaching 9999 is sometimes triggered by a new logo or pattern envelope format.  Jumps in sequence (renumbering) like this are one reason that a chart is helpful in dating undated patterns. Another potential source of confusion is that the same numbers are reused every few years. (For example, Butterick pattern numbers beginning with five thousand were issued in 1924-25, 1933-34, 1949-52, the late 1960’s – early 1970’s, and again in the late 1970’s!)  I have not systematically collected numbers earlier than 1924 — so far– but a new numbering sequence, ending the 9990’s and starting again in the 1000’s, began around July 1918:

Pattern views from Delineator, July 1918. The end of the 9000's number sequence is side by side with the new 1000s sequence.

Pattern views from Butterick’s Delineator magazine, July 1918. The end of the 9000’s number sequence is side by side with the new 1000’s sequence.

 

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Butterick Forecast Wardrobe Patterns, 1927 to 1928

I don’t collect patterns or sell them anymore, so I feel a little weird about finding another category of rare Butterick patterns. These are proving difficult to research, simply because they appeared in a few issues of Delineator with no fanfare (as far as I know,) and then no more was seen of them — at least, not by me.

Forecast Wardrobe from Delineator, November 1927, p. 26. The Butterick pattern numbers are, from left, 9-D, 9-C, 9-B and 9-A. These patterns cost more than four-digit Butterick patterns.

Forecast Wardrobe from Delineator, November 1927, p. 26. The Butterick pattern numbers are, from left, 9-D, 9-C, 9-B and 9-A. These patterns cost a dollar each.

These “forecast wardrobe” patterns are peculiar for two reasons:

  • They are outside the usual four-digit numbering sequence.
  • They cost $1.00 each at a time when most Butterick patterns cost from 25 to 50 cents.
Detail from a Butterick pattern price chart, Delineator magazine, January 1928, page 92.

Detail from a Butterick pattern price chart, Delineator magazine, January 1928, page 92. Pattern numbers and prices in cents. A chart of current pattern prices appeared in every issue.

I stumbled upon a two-page spread of “Fashions of the Forecast Wardrobe” in the January 1928 Delineator [Butterick’s magazine for women,] and didn’t see anything special about them except the odd numbering: 10-A, 10-B, etc.

"Daytime Fashions of the Forecast Wardrobe," Delineator, January 1928, p. 30. From left, Butterick patterns 10 B, 10 F, 10 A and 10 C.

“Daytime Fashions of the Forecast Wardrobe,” Delineator, January 1928, p. 30. From left, Butterick patterns 10 B, 10 F, 10 A and 10 C.

It was the price chart — which appeared at the back of every issue in the late 1920’s — that surprised me.

A typical Butterick Price Chart like this allowed Delineator readers to order by mail. January, 1928. It also helped me to date Butterick patterns.

A typical Butterick Price Chart like this allowed Delineator readers to order by mail.  It also helped me to date Butterick patterns. This one appeared in January 1928.  (Three-digit numbers are craft patterns.) The dollar patterns at the bottom are unusual; other prices are given in cents [Cts.]

I started looking through the previous years — 1927 and 1926 –expecting to find a regular series, but have only discovered five sets of “Forecast” patterns so far, starting with the four-pattern group beginning with 8 (8 A, 8 B, 8 C, and 8 D) in October of 1927 — and those patterns did not appear on the October price chart.

Butterick patterns 8-A through 8-D appeared in an article on wardrobe planning, Delineator, October 1927, p. 26. There was no mention in the article of the patterns' prices.

Butterick patterns 8-A through 8-D appeared in an article on wardrobe planning, Delineator, October 1927, p. 26. There was no mention in the article of the patterns’ special prices.

The group numbered 9 (9 A, 9 B, 9 C, 9 D) was illustrated in the November 1927 Delineator, again without appearing on the price chart.

Butterick patterns 9-A through 9-D appeared in November, 1927, with recommended accessories. Delineator, p. 26.

Butterick patterns 9-A through 9-D appeared in November, 1927, with recommended accessories. Delineator, p. 26.

In January 1928, the eight-pattern Number 10 series was luxuriously illustrated (on the S.S. Ile de France) by L. Frerrier, and showed up on the pattern chart with that $1.00 price, finally giving me an idea why these “Forecast” patterns were special. Series Number 9 patterns were on the January price chart, too.

Butterick "Forecast" patterns 10 D, 10 H, 10 E, 10 G. Illustrated by L. Frerrier for Delineator, January 1928, p. 31.

Butterick “Forecast” patterns 10 D, 10 H, 10 E, 10 G. Illustrated by L. Frerrier for Delineator, January 1928, p. 31.

Another eight-pattern Forecast wardrobe (11 A through 11 H) appeared in March, 1928 — again, a two page spread. The final group of eight (12 A through 12 H) appeared in June, but Frerrier’s illustrations were crammed into just one page. I haven’t gone through 1929 Delineators page by page, but there were no more Forecast patterns in 1928. As Kermit T. Frog would put it , “What the Hey?”

Butterick Forecast patterns 11-C, 11-D, 11-B, and 11-A, from March 1928. Delineator, p. 30.

Butterick Forecast patterns 11-C, 11-D, 11-B, and 11-A, from March 1928. Delineator, p. 30.

I don’t see anything special about the designs of Forecast Wardrobe patterns; in fact, some of them look a bit dowdy. And, as for predicting future fashions — well, if anyone could do that with absolute accuracy, that person would be very rich.

As I work through Delineator magazines for 1928, I’ll be keeping an eye out for these designs; did they reappear with normal numbers and normal prices as time went by? In what way were they “forecast?” And what made them cost twice as much as other patterns?

Has anyone found a vintage Butterick pattern with these peculiar numbers? Did they appear in the store pattern catalogs or store flyers? And, are there more than thirty-two of them (four  in October 1927,  four in November 1927, and eight per month in January, March, and June of 1928?)

I’ll be sharing details of the patterns in later posts; after the library retrieves the bound volumes for 1927 and 1928 from off-site storage, I’ll be reading through their masthead pages in case “Forecast” patterns were announced there. For now, I’m just sharing the mystery.

 

 

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