Category Archives: Vintage Couture Designs

Balenciaga at the V & A : Museum Exhibitions Online

Design by Cristobal Balenciaga, 1965. Image courtesy of the Metropolitan Museum.

The Vintage Traveler recently shared an FIT symposium on museum exhibitions of fashion.
That reminded me of some extraordinary videos that were part of “Balenciaga: Shaping Fashion” at the Victoria and Albert Museum.
The exhibition closed in February, 2018, but the V&A has generously posted the videos made for the exhibit online, so we can all enjoy them. [Note to other museums: Go, thou, and do likewise! Once the exhibition closes, put the videos online!] Unfortunately, the still photos from the exhibition are under copyright, as are most other museum pictures of Balenciagas — so please click on the links.

I didn’t see the exhibition in London, but it appears to have used technology to very good purpose. I’ve whiled away hours watching the V&A’s exemplary videos.
This link will take you to the V&A website, where you can read about Balenciaga and watch three marvelous videos illustrating exactly how his minimalist but extraordinary patterns come together into “Balenciagas.” Click here for Secrets of Balenciaga’s Construction

The museum took X-Ray photos of some of the Balenciagas on exhibit. This link includes another fascinating video. You can see hidden weights controlling the drape, and, occasionally, a straight pin!

A V&A video about the custom beading on a glittering evening coat is found here.

In “Learning from the Master: Deconstructing Balenciaga,” the Museum invited a group of advanced design students from the London College of Fashion to create patterns and toiles from Balenciaga gowns in the museum’s collection. If you sew or drape, this is for you! ( I’m thinking of you, Fifty Dresses….)

“Shaping Fashion: Balenciaga” is another well-done video from the V&A. You can watch designs by Balenciaga morph into designs by other famous couturiers. (I just wish all the V&A’s videos were together in one place online!)

A preview of the entire exhibit can be found in the AP Archives: click here.

Until I started searching museum collections for Balenciaga designs, I hadn’t appreciated how much he influenced my wardrobe in the late 1950s/60s. Not that I ever wore couture (ha!) but because the inexpensive clothes I did wear and saw worn everywhere were inspired by his work. My first wool suit (home-made) was a distant echo of this one. Party and prom dresses worn by my friends owed a debt to this simple & elegant flowered dress. (Note the shape of the skirt.) The shape of this coat was everywhere, and I bought a long formal in green brocade with soft pleats at the waist (circa 1964,) reminiscent of the dress under it.

More Online About this Exhibition

Many who visited the exhibition posted images or videos on YouTube; here are a few blogs or videos about it.

At 12 minutes long, this video from Stitchless TV gives a good idea of how well-thought-out this exhibition apparently was. Click here for a “walk through” that includes much besides the videos posted more clearly at the V&A site. It shows the “upstairs” part of the exhibit, which features designers who trained with or were inspired by “The Master.”

This video by Natalie (at Time with Natalie) gives a good “walk through” (starting at one minute in.)

Betty Raen at The London List captures some photos that show more of the exhibit.

For a quick taste, try Fashion Expedition’s report.

The Arcadia online blog previews the exhibit (with illustrations, of course.) Many designs by students of “the Master” are shown.

This link includes a photo of the pink “Tulip Dress” which is magically reconstructed in a V&A video.

As the late Anthony Bourdain said, “I’m still hungry for more.”

More Balenciaga exhibitions:

“Balenciaga and His Legacy:” was presented at the Meadows Museum in Dallas, Texas on February 3, 2007 by the Texas Fashion Collection. Click here. This video is not too dark, unlike others; but it’s not really in focus, either…. However — you won’t see the same creations featured elsewhere. Worth a taste.

When you have had your fill of evening gowns, this video from the Museo Cristobal Balenciaga shows superb construction on wool suits and other daytime clothing. Some of the images are too dark, but other close-ups are superb.

If you still want more Balenciaga, this 2011 exhibition, “Balenciaga and Spain,” from The DeYoung museum in San Francisco is 17 minutes long and traces Balenciaga’s development and early influences  …. sadly, the lighting and photo quality are not good. Films of his showroom are good.

This short video of “Balenciaga: Spanish Master” exhibition from New York is different and definitely worth watching.

Also creative and interesting: this video from ICONIC.

When you have time to relax, pour yourself a cup of your favorite beverage, put your feet up, and enjoy these videos and blogs.

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Filed under 1950s-1960s, 1960s-1970s, Capes, Coats, Exhibitions & Museums, Tricks of the Costumer's Trade, Vintage Couture Designs, Vintage Garments: The Real Thing

Boleros Part 3: Day and Evening, 1930s

A bolero jacket tops an evening gown, center, in this editorial illustration by Leslie Saalburg, Delineator, November 1931. The Nineteen Thirties’ bolero was often used with evening wear…. [But boleros continued to be a daytime option, too.] If not actually used as a separate jacket, a bolero might be suggested….

Left, Butterick 4093 from October 1931; right, a vintage dress circa 1929 -31 has the same bolero effect built into its bodice.

Butterick 4093: the width of the bolero enhances the slenderness of the waist and hips. This bolero “runs to a point at the back, is split and tied with a bow.”

A bolero built into the dress contrasts with the slender hips and belted waist. Butterick 3696 from Delineator, February 1931.

This pattern for a tied bolero reminded me of a vintage tied jacket (not a bolero) that I also love.

Right, a bolero for evening is tied at the waist. (Usually, but not always, daytime boleros were tied near their neckline.) Butterick 3460, Delineator, October 1930.

Although this vintage velvet jacket is hip-length, not a bolero, the tie at the waist has the same effect.

Vintage 1930s evening jacket with front-waist tie and dolman sleeves.

The sleeves taper from very full to tight at the lower arm.

This 1931 lamé evening jacket stops at the waist, like a bolero, and has curved fronts, like many boleros — but the word “bolero” is not used:

Another glamorous, but simple, waist-length evening jacket. Butterick 4076 from September 1931. Delineator.

The fad for huge, ruffled “Letty Lynton sleeves” can be seen in this bolero from 1933:

Bolero illustrated for a fashion column, Delineator, April 1933.

In 1936, boleros over evening gowns added versatility to the fashions, which could be worn with or without the jacket, creating two different looks.

A bolero with a long, twisted tie changes this evening gown from daringly bare (left) to chic but modest; the covered-up look was suitable for dinner and night-clubs. Vogue 7507, from Ladies’ Home Journal, November 1936.

[It’s also a reminder that a gown which appears to be black and white in a movie might really be green, or some other intense color.]

A white gown could be “dressed down” for dinner by a colorful bolero jacket. LHJ, July 1936.

This gown in soft silk or chiffon with printed green organza [or some other fairly stiff fabric] has a low back, covered on a cruise ship by a hooded bolero. Convenient for moments when you step out onto the deck in the moonlight. LHJ, February 1936.

Another article on cruise wear also emphasized the bolero jacket — by packing several boleros, you only needed to pack one long evening gown.

Butterick 7407 shows a halter dress in sheer blue printed fabric — topped with a white bolero. Woman’s Home Companion, June 1937.

From a fashion editorial describing a Companion-Butterick cruise wardrobe. WHC, June 1937.

Below right: this sheer bolero over an evening gown appeared in Ladies Home Journal, July 1936:

Vogue 7403, 7369, and 7386. LHJ, July 1936. A corsage doesn’t have to be worn on the shoulder…. Click here for a closer view of the bolero.

Right, a dignified lace dress with matching bolero; Butterick 7998 from 1938. Butterick Fashion News flyer.

That lace gown is probably for mature women, since the size range is 34 to 52 inches (bust.) But evening gowns for teens also showed them with bolero tops.

A bolero tops a prom dress; WHC, May 1937.

A long dance dress for teens, with bolero jacket. Butterick 7354.

This reminds me that wedding dresses for church ceremonies — and prom dresses in conservative schools — could not reveal bare arms (at Roman Catholic weddings) or have strapless tops or “spaghetti straps” as late as the 1960s, so this jacket would satisfy the chaperones. A girl could take it off when she was alone with her date….

Butterick evening gowns, August 1938 pattern flyer.

Butterick 8004, left, and Butterick 7997, right, with removable bolero top. The bodice of 8004 (“molded to slim your waist”) has a sort of false bolero effect, being larger than the gown below it.

Buttterick 8004, 7997, and 8010. BFN, August 1938. No. 8004 was available in sizes for teens and for women up to 44″ bust. The two on the right are for Junior Misses, up to bust 38.”

Another bolero with coordinating evening gown, left, Butterick 8461, from July 1939. BFN.

A Junior Miss evening gown with bolero jacket. From Butterick Fashion News flyer, July 1939. ” ‘Straps’ on the dress tie in a halter effect….”

However, older women might also buy a pattern that included the versatile bolero in 1939.

Right, Vogue 4128, Vogue Fashion Flyer for May 1939.

Designer Lucile Paray was featured in an article about Paris fashion revivals (i.e., “retro-inspired) — like leg-o-mutton or “Directoire” sleeves — in 1937. Paray’s evening suit was inspired by the turn of the century garment (with bolero) illustrated beside it.

Lucile Paray designer evening suit; illustrated for Woman’s Home Companion, December 1937.

The bolero doesn’t get much simpler than this one, from June, 1937:

Butterick 7405, an evening ensemble with bolero jacket, Woman’s Home Companion, June 1937.

Meanwhile, bolero jackets for daytime use were also seen throughout the Thirties.

In fact, Butterick 7405 had many casual and sporty variations for daytime!

Boleros were not just for evening wear in the 1930s. Click here for more about 7405.

To be continued as “Boleros Through the 1930s, Part 4.”

 

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Filed under 1930s, 1930s-1940s, Coats, Coats, Vintage Accessories, Vintage Couture Designs, Vintage Garments: The Real Thing, Vintage Styles in Larger Sizes

The Interior Belt in Vintage Styles

Janet Arnold’s illustration of the interior of a woman’s dress, circa 1896. From Patterns of Fashion 2. Notice the belt, attached only at the center back seam.

If you are trying to reproduce a vintage garment, you need all the information you can get. Information about how a vintage dress looks on the inside is invaluable, and I don’t know of any source better than the series of Patterns of Fashion books by the late Janet Arnold

… even when you have primary source information, like this photograph.

Fashion Photograph from 1896. Met Museum. We can see from the photo that the skirt at left is probably flat-lined — those tell-tale wrinkles would have been omitted in a drawing.

It’s better than a drawing, but the answer to “how did they do that?” requires inside information.

Cream brocade gown from the House of Worth, 1896. Collection of the Metropolitan Museum.

Museums and books sometimes provide close up photos showing details of construction …

Detail of Worth gown from 1896, showing several rows of cartridge pleating on the sleeve and lace-shaped beading on the brocade bodice. Met Museum.

But to reproduce a vintage garment and have it “behave” properly, we need to know where the seams (and the bones) are, how the garment was lined, where the hidden closures were located, what made those sleeves stand up like that***, etc. Also, sometimes we discover a “trick” that made the garment easier to put on, or made it fit better. For costume purposes, we don’t need to follow the original slavishly (sometimes all those difficult hidden closures are not practical for a costume,) but we can make informed decisions.

One device that I have seen on vintage garments — and used on costumes — is the interior waistband or belt. This turn-of-the-century vintage bodice had one.

Elaborate lace and ribbon trimmed this ToC bodice (with a strangely skimpy skirt.)

Inside, a belt (never meant to be seen) was attached to the seams at center back. It closed at center front, and would be the first thing the wearer fastened when getting dressed.

Interior belt or waistband on a Turn of Century [ToC] bodice.

As Janet Arnold sketched the insides and outsides of museum garments, she drew many bodices that used an interior belt.

Interior waistband or belt, drawn by Janet Arnold.

Notice that the belt is only secured to the center back seams, with characteristic X stitches. It closes with hooks and bars at center front. It anchors the bodice to the wearer’s waist, so the bodice cannot ride up. It also holds the bodice in place while the many concealed hooks, eyes, and tapes are fastened. It takes some of the strain at the tightest spot, so the wearer doesn’t have to exert much pull on the more delicate fabrics to fasten them.

The interior belt works well on corsets.

I have seen and used these belts on the inside of corsets — what a great difference they make!

When you lace your own corset after fastening the front busk, you can’t be sure of getting it the same size every time. (Corsets rarely meet in the back.) Delineator,  April 1914.

First, the interior belt closing gives a constant size for the corset. You can’t accidentally lace it looser by mistake. If your dresses have been made to fit perfectly over your corset, but the corset lacing never actually meets at the waist, there’s always a chance that you will tighten your laces, put on your dress, and find that the dress doesn’t fit properly, because you pulled the laces too tight — or allowed yourself a bit more room than you did at the dress fitting.

Janet Arnold’s illustration of the interior of a woman’s dress, circa 1896. From Patterns of Fashion Vol 2. [***Fun fact: Arnold discovered that those huge leg-o-mutton sleeves were stuffed with paper!]

Secondly, when there is a waist belt inside your corset, the belt contracts your waist to the right size for fastening the front busk. The belt takes the strain (and keeps your corset from falling to the floor), giving you two hands free to hook the busk at the waist. Once the corset is fastened there, hooking it the rest of the way up and down is relatively easy. You may not need to deal with the laces at all.

The interior belt is can be made of a non-stretchable ribbon, like grosgrain.

The belt is also a great help in supporting the weight of the skirt; in many period dresses most of the skirt fullness is at the back, so the skirt of the dress can be quite heavy, and hard to wrestle with when its weight pulls the bodice crooked as you try to deal with dozens of fastenings.

Interior of dress from 1913-14 drawn by Janet Arnold. The skirt is sewn to the bodice only at one side. A row of hooks and bars connects the skirt to the bodice on the other side. (You can see two bars below “CF.” Arnold drew every hook.)

This circa 1913 dress (which combines lace, fur, chiffon and other materials) has an elaborate arrangement of closures, all of which would be hidden when the dress is worn. Notice that the skirt is only sewn to the bodice on its right side. The interior belt holds the bodice in the correct place and helps to support the weight of the skirt, while the left side of the skirt is slowly attached, hook by hook, to the left side of the bodice! [I think this one needed the help of a maid to deal with the skirt back and that big bow.]

Detail of Arnold’s drawing of the dress from 1913-14; no closures are visible, as the built-in sash hides the places where the skirt is only hooked to the bodice. The skirt is fur-trimmed.

The use of an interior belt is not restricted to the Victorian era. It remains part of the interior structure on couture when needed. It might be used, for example, to prevent tight jackets’ buttons straining against buttonholes at the waist, or to prevent too much strain on a zipper.

I can’t swear this famous Christian Dior New Look suit’s interior structure uses a belt, specifically, but something is preventing “pull” on the buttons. Click here for a great essay on “New Look” construction techniques.

You can see an interior belt — sewn in, not hanging free — on the waist of this gray dress from Dior’s fall-winter collection of 1955:

This Dior dress from 1955 is lying open on a table, positioned so you can see one end of the interior waistband; it matches the gray of the dress, which is flat-lined with gray organza.

At the place where the dress fits most tightly, the strain is taken by the belt rather than the zipper, which is visible to the right of the belt.

Christian Dior label, “Automne-Hiver 1955.” Charcoal gray dress with matching bolero jacket. Photographed from a private collection. The owner mentioned that this dress was made during Dior’s lifetime.

Digression: [I can’t not show you other pictures of this ensemble, even though I’m straying from my “interior belt” topic!]

You can see the unusual seam lines and darts on the jacket, which also has an interesting vertical buttonhole treatment.

Bolero jacket from Christian Dior, 1955. The matching dress has a full skirt pleated at the waist.

With the bolero jacket unbuttoned, the use of a separate panel to create “buttonholes” can be seen.

No, this buttonhole construction is not as care-free as it may look:

Inside view of Dior buttonhole in the bolero from 1955. The seams on the front of the jacket are not the same as those on the inside, and the buttonhole is reinforced like this.

Here, the interesting seams of the cap sleeve are visible. The back of the dress, with zipper, is visible at right.

Back to the topic of researching the insides of clothes you need to re-create, and the interior belt….

Arnold studied this dress from 1915-16 inside and out. If you were planning to copy it, you might think the outside tells the whole story — bodice and skirt both gathered at the waist.

A circa 1915 dress in a museum collection, drawn and its construction analyzed by Janet Arnold. Note the way a series of tiny tucks curves the sleeve forward.

Text describing the dress mentions that is would have been worn over a corset like this one.

The interior, drawn by Janet Arnold, shows that the scalloped dress in not as simple as it looks.

It has an under bodice, a hidden closure in front, a skirt that is partially attached to the bodice and partially hung from hooks and bars, and an interior belt that is boned and tightly fitted.

Arnold gives you a scale drawing of every part of the dress. This is what the under bodice of net looks like:

Like many vintage dresses which are bloused, this one has an under bodice. See French Linings. The bodice itself has kimono sleeves without armhole seams.

Arnold’s scale drawing of the interior belt on the scalloped dress. “The Petersham is shrunk in at the top to 26 1/2 inches, the bottom edge measures 27 1/2 “

Petersham ribbon looks much like grosgrain, but grosgrain cannot be stretched with steam and pressure. Petersham is often used in hat bands because it can be shaped into a slight curve with a steam iron.

I cannot praise Arnold’s Pattern of Fashion books too highly. Even if you choose not to duplicate her scaled patterns exactly, you will gain insight into period (and couture) construction that is invaluable.

I used to watch 1950s’ movies and wonder how a slender belt with no practical buckle could dig into an actress’s waist to compress it even more than her “merry widow” corset. Here is Elizabeth Taylor in a dress that really squeezes her waist. Janet Leigh’s wedding dress has a belt that might squeeze her that hard — although eventually the hole in the belt would start to tear…. Unless there was an even tighter belt inside those dresses….  “Ya think?”

 

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Filed under 1870s to 1900s fashions, 1900s to 1920s, 1910s and WW I era, 1940s-1950s, A Costumers' Bookshelf, Dresses, Musings, Tricks of the Costumer's Trade, Vintage Couture Designs, Vintage Garments: The Real Thing

The Big Hem Drop: 1929 to 1930

Only one year separates these Butterick patterns from Delineator magazine. This is rapid fashion change.

The change in fashion that took place between Fall of 1929 and Spring, 1930 — just a few months — fascinates me. The fact that a completely different fashion silhouette was adopted during a time of economic crisis  — when pennies were being pinched — makes it even more astonishing.

Just to get our eyes adjusted and refresh our memories of 1929 before the change, here are several images of couture and of mainstream Butterick sewing pattern illustrations from July 1929.

French couture sportswear, illustrated by Leslie Saalburg in Delineator, July 1929. Short and un-fussy.

These fashions are unmistakably late 1920s. Note the hem length, which just covers the knees. There is a crisp, geometric quality about many of these outfits.

Couture sportswear illustrated by Leslie Saalburg for Delineator, July 1929.

Patterns for home use:

Spectator sportswear; Butterick patterns illustrated in Delineator, July 1929. The dress at left is soft and flared, a hint of things to come. The dress at right is crisply geometric. Both are short.

1920’s day dresses, Butterick patterns 2697 and 2707. Delineator, July 1929. Mostly straight lines.

Butterick patterns for sportswear, Delineator, July 1929. Simple, pleated, short.

Whether we look at French couture or home sewing patterns, the silhouette and the length are  definitely “Twenties.”

In the 1929 Fall collections, couturier Jean Patou showed longer skirts — well below the knee — and took credit for changing fashion from the characteristic Twenties’ silhouette to the longer, softer, Thirties’ look. (A few other couturiers also showed longer dresses, but he took the credit for being first.)

French couture fashions sketched for Delineator, November 1929. The large illustration at left is an ensemble by Patou — noticeably longer than the other designers’ hems.

“Paris revolutionizes winter styles.” Compare the hem on the dress by Patou, second from left, with those from Molyneux (left, very “Twenties”) Cheruit (third from left,) and Nowitzky (also “Twenties” in spirit, far right.)

Below is the Fall 1929 version of Chanel’s famous black dress. (In the original, from 1926, hems had not reached their shortest length.)

This variation on Chanel’s famous little black dress — with a slightly different placement of tucks –falls just below the knees in 1929, the season when Patou was pioneering longer dresses.

By Fall of 1929, Chanel’s “little black dress” (a sensation in 1926) is just below the knee. It also has a natural waist.

You may have noticed that waistlines are rising as hems are falling; that’s a topic deserving an entire post, but….

Delineator, October 1929, p. 25. “Higher Waists, Longer Skirts.”

The flared dress at left has a softer, less geometric look, and shirring near the natural waist instead of a horizontal hip line. Delineator, October 1929. This dress seems to be “in the stores” rather than a Butterick pattern.

Between July couture showings and October, 1929: That is how fast commercial manufacturers picked up on the new trend for longer skirts and natural waistlines.

Butterick patterns in Delineator, October 1929.

Delineator (i.e.,Butterick Publishing Co.) had offices in Paris where the latest couture collections were sketched (and copied.) In this case, longer skirts appeared on patterns for sale very quickly. (The process of issuing a pattern took several weeks, and the magazine had a lead time of a month or so, as well.)

When these patterns appeared in April, 1930, nothing was said about their length. Old news!

Dresses for women, up to size 48. Butterick patterns from Delineator, April 1930, p. 31. From left, “tiny sleevelet,” “flared sleeves,” “white neckline,” and “short kimono sleeves.”

By April 1930, what was notable about these dresses, to the editors of Delineator, was the variety of their sleeves!

Back views of Butterick 3143, 3179, 3173, and 3180. Delineator, April 1930, p. 31.

Longer styles had been in the news for several months.

Butterick patterns from Delineator magazine, January 1930.

Butterick patterns from Delineator, February 1930. Hems have fallen. Waists are in transition.

The most interesting article I found about this change from “Twenties” to “Thirties” was in Good Housekeeping magazine, November 1929, pp. 66 and following.

In “Smart Essentials of the Winter Clothes,” fashion editor Helen Koues wrote:

“They differ from any we have had since the war…. To be sure, last season Patou and a few houses tentatively raised the waistline, and we talked about it and made predictions. But now the normal or above normal waistline is here, and anything remotely resembling a low waist is gone. We have had it a long time, that low waist and short skirt, and it is only fitting and logical that it should make way for some sort of revival. [“Directoire, Victorian, Princess….”] We have worn high waists and long skirts before — both higher and longer. But coming with a greater degree of suddenness than any change of line has come for some years, it is an inconvenient fashion.  What are we going to do with our old clothes? [My emphasis.]

“The new silhouette will be taken up just as fast as the average woman can afford to discard her old wardrobe…. The average woman will replace what she needs to replace with new lines, but she will take longer, because she will wear out at least some of her old clothes.  In three months, however, all over America the tightly fitted gown, the longer skirt, the high waist will have superseded the loose hiplines of another season. and the main reason for the speed of this change is that we are ready for it. We are bored with the old silhouette, for we have had it too long — so long, in fact, that… we were beginning to think that we would wear short skirts and low waists till we die…. The psychological moment has come….

“Skirt lengths are particularly interesting: for sports, three inches below the knee is the right length; for street clothes, four inches below, and for the formal afternoon gown about five inches above the anklebone. Evening, of course, right down to the ground… and probably with as much length in front as back…. These are the average lengths.

“Skirts are slimmer than ever, if that is possible, or at least the effect is slimmer, because with the added length the flare necessarily begins lower down. But the flare is still there in full force….”

Colors for Spring, 1930. Butterick patterns in Delineator, March 1930. Flares, softness, and a coat that is shorter than the dress.

Koues also noted that the new three-quarter coat, “that strikes the gown just above the knee” was in style, although she did not mention that this, at least, was a break for women who could afford a new dress but not a new winter coat. Koues recommended wearing longer knickers (underwear) in winter to make up for the shorter coat.

Short coats or long jackets, February 1930, Delineator.

Vogue, October 26, 1929 reminded readers “We told you so!”

If you have access to Vogue magazine archives you may enjoy a timeline of Vogue fashion predictions from October 26, 1929. It began, “We told you so! If you are one of the many women who are complaining that the new mode means a completely new wardrobe, that you were caught unawares, we take no responsibility. For two whole years, we have been reiterating and reiterating a warning of the change to come.”

Here are some highlights of Vogue‘s predictions:

JANUARY 1, 1928:  “The Waist-Line Rises as the Skirt Descends…”

JANUARY 13, 1928:  “Skirts ….. Will Be Longer” — “Waist-Lines Will Be Higher” — “Drapery and the Flare Will Be Much in Evidence.”

APRIL 13, 1929:  “What looked young last year looks old this season — all because longer, fuller skirts and higher waist-lines have been used so perfectly that they look right, smart, and becoming.”

JUNE 22, 1929: “The hemline is travelling and so is the waistline. One is going up, and the other is coming down.”

Vogue ended, “Need we say more? Surely, Vogue readers are well prepared.”

This is what designers in Paris were showing in Spring, 1930.

Paris Couture, sketched for Delineator, May 1930. Every one has a long skirt and a natural waist.

I began with several images of patterns and couture from July 1929. Here are some dresses from July 1930, showing how completely the Twenties’ look had been “superseded” by the Thirties — in one year.

The Twenties are over. The Thirties are here. Patterns from Delineator, July 1930.

Naturally, in 1929-1930 some women thought the new long skirts made them look “old” while some thought they looked “youthful;” but that is a story for another day!

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Filed under 1920s, 1920s-1930s, 1930s, Coats, Old Advertisements & Popular Culture, Panties knickers bloomers drawers step-ins, Sportswear, Underthings, Vintage Couture Designs, Vintage patterns, Vintage Styles in Larger Sizes

Paris Ideas, Butterick Pattern, 1926

Soulie’s sketches of Paris designer fashions, Delineator, January 1926.

Two designers showing strongly banded dresses were featured in Delineator‘s January report from Paris. And a strongly banded Butterick pattern appeared in the same issue.

Butterick dress pattern 6543 (right) shows Paris influence.

The designer dress by Lanvin has a “silver girdle” molding the hips and its “divided front tunic” is trimmed with silver, perhaps silver stitching. (Custom embroidery is still a mark of couture.)

A closer look at the Lanvin design, which features silver bands on a black dress. Winter, 1925-1926.

Striking, contrasting bands down the center front give impact to this Butterick pattern (right) from January 1926:

Butterick 6543, right, offers a charming solution to “authentic Twenties style” for women who don’t want to exaggerate the width of their hips.

“Crepe satin used with its reverse side” would give a very subtle effect; here, chiffon velvet seems to be suggested, although applying those straight bands to velvet would not be easy sewing. Heavy crepe de Chine would be an easier-to-handle choice.

Right, a good example of the subtle effect of reversible crepe satin; this 1927 dress uses the matte and shiny sides of the same fabric.

The flared sleeves of Butterick 6543 are very like the Lanvin couture design, although the bands ate placed differently.

Here is the alternate view of patterns 6561 and 6543:

Alternate views of Butterick patterns 6561 and 6543.

Note the short-sleeved summer version of 6543; the suggested border print fabric would make a dress that looked very different from its dark winter version.

Happy New Year, 1926!

This banded evening dress by Jenny was also illustrated in January 1926 — It’s not for the timid:

A banded evening design by Jenny, a very successful couturier in the 1920’s. For more about those deep armholes, click here.

In “orchid pink crepe satin embroidered with pink pearls and blue flowers worked at hip and shoulder,” it would be modified to suit the woman who ordered it. It was probably available in other color choices — and with a sheer “modesty” insert in the deep V neckline, if required.

Click here for another daring neckline by Jenny. UK vintage clothing dealer and blogger Blue 17 wrote a good, illustrated Jenny tribute: Click here to read it.

For a much less elaborate Butterick dress from 1926 — which used a slimming contrast tie to good effect, see 6553, at right:

Butterick 6559 and 6553, Delineator, January 1926. Cape optional.

The long ties are important to the effect of these dresses, distracting from the horizontal line at the hips, adding the illusion of width to the shoulders and drawing our eyes up, closer to the face.

Butterick 6559 (left) makes good use of a border print.

Wishing you a very happy 2019!

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Filed under 1920s, evening and afternoon clothes, Tricks of the Costumer's Trade, Vintage Couture Designs, Vintage Styles in Larger Sizes

Designer Fashions, February 1928

French designer sportswear, Delineator, February 1928. Illustration by Leslie Saalburg. From left, Chanel, Lelong, Vionnet. The Vionnet is trimmed with applique.

Delineator ran regular features on the latest Paris collections, often sketched by [Pierre] Soulié or Leslie Saalburg. [“Djersakasha is a cashmere jersey that could be woven as a tube, eliminating the need for seams.”]

The February 1928 issue also showed photographs of designer fashions that could be purchased in New York. [A needed reality check after all those 1920s’ fashion illustrations!]

The coat is by Frances Clyne, a top-level dress shop; the evening gowns are couture designed by Louiseboulanger and Chanel. Delineator, February 1928.

The “flesh color” Louiseboulanger gown could be purchased (and custom fitted, of course) from Frances Clyne. The Chanel could be bought at Lord & Taylor. (Note: Chanel was already selling costume jewelry in 1928.)

I can never get used to the “draggle-tail” look of these evening gowns under a coat, but this 1928 photo is proof: “This is the sort of dress for which the coat at left was created.”

This corduroy coat — very casual — is by Patou [Couture corduroy…!]

Corduroy sports coat by French couturier Jean Patou; illustrated in Delineator, February 1928.

“Patou makes a sports coat notable by such details as pale emerald green corduroy, the slot seams, the yoke, the patch pockets, the steel buckled belt, and a glistening black patent leather flower on the left lapel.” It’s cut almost like a shirt. I wonder:  did the black patent leather flower inspire Chanel, or was it the other way around?

This dress by Vionnet is also inspiring. [P.S. I wore dresses with that standing collar in the 1960s. Her influence just goes on.]

Black crepe satin dress with raglan sleeves by Madeleine Vionnet, illustrated in Delineator, February 1928. The hat was designed by Suzanne Talbot.

Thanks to a lecture by Sandra Ericson, I know that the tucks in the bodice fabric would have been done on the straight of grain, and the bodice pattern would then have been placed on the fabric with the center front and back aligned with the bias. Vionnet sometimes used fabrics so wide that they had to be custom woven. We could imitate this bodice by hiding a seam under one of the tucks, if necessary. The original was in crepe satin, but I can imagine it inspiring a modern top with sheer black sleeves….

This white satin evening dress from Lanvin is really typical 1920’s style, with its beaded hip band and simple lines. A cape was often seen on twenties’ patterns, but, being optional, many dresses were made without the cape.

Delineator sketch of a couture gown by Lanvin, Paris, February 1928.

“Lanvin puts a swinging cape on this white satin frock, since the back is so important a part of a dress for dancing. The waistline is banded with feathery embroidery in small silver and white pearl beads.” That center panel would also be lovely for dancing, and, like the Chanel gown, it seems to have a “paste” jewel as an accent. A stack of bangle bracelets was also a chic Twenties’ touch.

The long-established House of Paquin produced this evening gown:

The V-neck on the back of this turquoise couture gown by Paquin is echoed in the hip band and scalloped hemline. The hip band tied in front. Photo from Delineator, February 1928.

[I think a “flesh” or “cafe au lait” lace inset (or slip) can be seen in the low neckline opening.] This couture original was imported by Hattie Carnegie‘s New York store.

According to Lizzie Bramlett, writing at the Vintage Fashion Guild Fashion History site, customers could buy a Paris original from Hattie Carnegie, or buy one of her copies, made in New York.

For sporty, daytime wear, she sold this four-piece tweed wool suit, coat, and pullover outfit designed by Molyneux.

A four-piece couture wool ensemble designed by Molyneux and available from Hattie Carnegie in New York; Delineator, February 1928.

In 1928, “dresses are short for sports.”

Here is a list of other fashion trends, including colors, which appeared on the same page as the Molyneux ensemble and the Paquin gown:

Fashion trends as reported in Delineator magazine, February 1928, page 31.

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Filed under 1920s, 1920s-1930s, Capes, Coats, evening and afternoon clothes, Sportswear, Vintage Couture Designs, vintage photographs

Not What We Think of When We Say “Twenties’ Fashions:” 1920

A couture evening dress by Parisian designer Georgette, illustrated in Delineator, February 1920, p. 111.

It would be convenient if fashions changed only when a new decade began — boring, but convenient when assigning dates to fashion history. But that’s not how it worked.
When invited to a “twenties’ ” costume party, not many women would show up dressed like this:

Left, Butterick waist 2056 with skirt 2046; right, dress 2100. Delineator, January 1920, p. 76.

Butterick 2419 and 2366, June 1920. Front views, Delineator, p. 113.

Butterick dresses 2419 and 2366, June 1920. Alternate views. From the rear, 2366 really exaggerates hip width.

Of course, twentieth century fashion was always in transition; these dresses from 1920 are still showing the influence of the big-hipped styles of the 1914-1918 war era.

Two outfits from April 1917. Left, a “tonneau” or barrel skirt (Butterick skirt 9064); right, a skirt with protruding pockets rather like 1920 dress No. 2336, above.

The odd skirt on this 1920 dress echoes a style detail carried over from 1917. Butterick 2272, April 1920.

Butterick 8929, from February 1917. The skirt hangs from widely spaced cartridge pleats, also called “French gathering.”

A dress on the cover of Delineator magazine, April, 1920. Cartridge pleats again — but these are near the natural waist. They seem to be secured with buttons.

This rear view, from an advertisement for satin, is jaw-dropping:

Illustration from an ad for satin fabrics; Delineator, April 1920. It suggests the (attempted) return of the bustle.

Well… that is not the direction that 1920’s fashion eventually took!

To be honest,  I’ve been deliberately showing dresses that don’t fit our preconception of “the Twenties.” In fact, we can see the seeds of later nineteen twenties’ style in both of these dresses:

Gradual change in fashion: the waist is getting lower in 1920; the bodice extends to the hip; and the familiar late Twenties’ dropped waist is seen in the low attachment of both skirts.

This is transitional fashion: there is a dropped waist (where the skirts are attached) and a more or less natural waist, where the dress is belted in.

Often, fashions leaning toward the past and fashions prefiguring the future were shown side by side.

Two patterns illustrated on page 152, Delineator, April 1920. Left, Butterick 2278 has a long bodice and looks more “twenties”; right, 2239 has the wide-hipped, peg top look of the previous decade.

[Thanks to Sophia for explaining that “pegged-top” “refers to the child’s spinning toy ‘pegtop’ which is narrower at the bottom than the top like the skirts.”]

Butterick patterns 2060 and 2097, Delineator, January 1920.

If a woman got rid of the belt and shortened No. 2060, she could have worn it for several years in the Twenties:

These dresses from 1925 are not too different from 1920’s No. 2060. One has a similar bodice; one has a similar skirt.

The truth is that twentieth century fashion usually changed incrementally [which is why the rapid change from 1929 to 1930 is so extraordinary.]

Three Butterick patterns from February 1920. One of them looks more “Twenties” than the others.

All the following dresses are from early 1920:

Two patterns from Spring of 1920.

Butterick patterns from June, 1920. Waist 2383, skirt 2336, and dress 2371.

The long, lean look was also worn:

Butterick 2351 from May 1920. Delineator, p. 152.

But it’s probably the sporty, youthful quality of this summer dress that gives me that “Twenties'” feeling.

Butterick dress 2410 from Delineator, June 1920.

I have to remind myself that all these 1920 dresses would have been seen at the same time — and probably for several years.

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Filed under 1900s to 1920s, 1910s and WW I era, 1920s, evening and afternoon clothes, Old Advertisements & Popular Culture, Sportswear, Vintage Couture Designs, World War I