Category Archives: Vintage patterns

Proportions: Dresses from January 1926 and 1927

Fashions for teens and small women, January 1926. Butterick patterns illustrated in Delineator, bottom of page 27.

One year later, young women were wearing their dresses much shorter, and fashions looked more youthful because of a subtle change in proportions.

Day wear for teens (15 to 20) and small women, January 1927. Butterick patterns in Delineator, page 24. I see knees.

When looking at designs from 1926, we need to make allowance for the exaggerated length of the 1926 fashion [illustration] figure.

Here’s the original 1926 image again — tiny heads on very long bodies:

Fashions for teens and small women, January 1926.

To make a point, I altered this image rather crudely to show that the biggest change from 1926 illustrations to 1927 illustrations is in the torso length:

The proportions of the 1926 dresses have been altered near the waist in this image, not at the hem. I just cut and pasted the lower part of the 1926 dresses higher on the body.

Left, original illustration; right, with the lower half of the dress moved higher on the torso. The result is also a more realistic human figure.

1920’s dress patterns had to be altered at the waist, not just at the hem, to make the proportions look “right” — and to match the later 1920’s styles. (Click here for alteration advice from December 1926.)

"We pinned half of the pattern together and put it on . . ."The fact that many late Twenties’ dresses had a horizontal seam at the mid-hip must have made it much easier to restyle 1926 dresses into 1927 dresses!

Conjecture: A thrifty woman could use the bottom of a 1926 dress as the skirt of a 1927 dress:

The skirt portion of a 1926 dress might be cut off below the waist and sewed to a shorter bodice to become the skirt of a shorter 1927 outfit….

Or she might shorten the dress three or four inches at the 1920’s dropped waist level and cover the resulting seam with a belt….

This dress from January 1927 was altered at the waist while still in the pattern stage, but that belt could also cover a dress alteration….

I suspect that, when skirts got shorter in 1927, many “little dressmakers” must have been busy doing simple alterations like these.

Advertisements

1 Comment

Filed under 1920s, 1920s-1930s, Tricks of the Costumer's Trade, Vintage patterns

French Lining

French lining pattern 6933 from Butterick. Delineator, June 1914, p. 74. It has princess seams and many neckline options.

As far as I can tell, a French lining is a closely fitting interior structure that is usually not the same shape as the finished garment we see. It is different from “flat lining,” or a “dropped in” lining shaped like the dress or skirt, or a coat lining that merely allows the coat to slide over other fabrics more easily.

“A French lining gives a perfection of fit that can be attained by no other means…. It makes an excellent foundation for the draped waists [blouses] now in vogue…. For stout figures a French lining is almost indispensable, and this design will prove most welcome, for it conforms to the newest lines. When made of thin material it may be used as a foundation for Summer dresses or waists, and when made of lawn or silk it is also an excellent foundation for the draped evening dresses now worn.” — Delineator, June 1914. p. 74

Delineator, June 1914, p. 74.

When you have a garment that is tightly fitted, “flat lining” [a lining whose pieces are the same shape as the fashion fabric and are sewed at the same time] will take some of the stress off the seams and the fashion fabric. But when you see a vintage garment that fits very closely in back, but appears to be loosely fitted in front, expect a French lining.

Inside this apparently loose-fitting bodice is a tight-fitting inner structure. Vintage garment.

This vintage bodice has no visible opening. The tight lining prevents “pull” on the fashion fabric’s concealed closure.

When you have a garment that is draped, or bloused, or which has complicated concealed closures, it will behave better with an invisible, body-hugging lining.

This vintage dress does not have a visible opening in front or down the back. It does not have a snap opening in the side seam.

How do you get into it?

Back of vintage lingerie dress. It doesn’t open down the back. Clue: There is a hook and eye closing on the left shoulder.

This sheer lingerie dress with a blouson top has a simple French lining made of net.

How do you get into this dress?

The bias cut lining, which takes the strain of the hooks and eyes, fastens at the center front.

The pattern for the inside of the dress is not the same shape as the pattern for the fashion layer. I would class this as a simple French lining.

The lining fastens at center front; the fashion fabric layer fastens with hooks and bars at the side and shoulder! The sleeves are attached to the French lining. The skirt opens at side front.

The “French Lining” pattern could be purchased separately, but was often included in a dress or blouse pattern.

The Commercial Pattern Archive has this Butterick pattern from 1914.

Butterick 7317; information from the pattern envelope, courtesy of CoPA (The Commercial Pattern Archive.) Notice how different the French lining pattern pieces (top center) are from the fashion fabric pieces (at the bottom.)

Left, the French lining is an 8 piece princess line pattern which fits closely to the body.

The French lining was meant to fit very tightly, and is the support for the fashion fabrics. It ensures that the weight of the dress is suspended from the shoulders, that the folds and blousing aren’t pulled out of place, and that the wearer always looks neat as a fashion plate. In No. 7317, the cross-over drape in front ties at center back.

Changing Body Shapes Seen in French Lining Patterns

These French lining patterns reflect the changing body shape as corsets changed.

1910: Butterick French lining pattern 3527, January 1910. Note the “sway back” shape caused by 1910 corsets. This princess seamed lining has 4 panels in front and 6 in back.

1914: Butterick French lining 6933 from June 1914. The lower bust and larger waist reflect a change in corset shape.

1917: Far right, French lining pattern 1042 from Ladies’ Home Journal, November 1917. The womanly torso is losing its curves.

1924: A French lining pattern from Butterick, July 1924. “…An excellent dress lining or… it can be used to cover a dress form.” It probably was intended for older or “stout” women, since 1920’s dresses were lighter and less structured than previous styles. It has a long, hip-length, waistless shape, like most Twenties’ dresses. Butterick 5361 came in sizes 32 to 48 bust.

French Lining Included in Patterns

The French lining is often based on a princess seamed pattern (like all of those above,) since this permits an extremely tight fit, perfectly contoured to the body. (A French lining also looks very much like the covering of a professional dressmaker’s mannequin.) When you are draping on a professional dress form, you can feel the underlying seams through your muslin — very handy for locating the exact bust point or side seam, or placing a dart.

Once the French lining was perfectly fitted to a woman’s body, she could also use it to figure out (Oops, accidental pun!) alterations to commercial patterns.

[I was taught to call an individually fitted basic pattern a “sloper;” they’re handy to have if you are making multiple costumes for the same actor — or several pairs of trousers for yourself! Fitting patterns are still sold.]

Butterick waist 6791; Delineator, April 1914.

Incredibly, the Commercial Pattern Archive at University of Rhode Island has the pattern for this waist! (If you just create a Log-in, you can use this wonderful site  — over 64,000 patterns and growing! — for free.) There’s always a link to CoPA in my “Sites with Great Information” sidebar.

Pattern pieces for Butterick 6791; Commercial Pattern Archive.

It’s no surprise that Butterick 7971 includes a French Lining.

You can almost guess from the illustrations which garments need a French lining: if you think, “That dress defies gravity! How can that be possible?” or “How did she get into that?” you are probably looking at a dress that has a French lining.

Fashion Plate, 1888-1889 from Metropolitan Museum Costume Plate collection. Below the wrapped outer bodice is a concealed side-front closing.

There are no visible openings on these late 1880’s dresses. Met Museum collection.

They definitely did not have a zipper down the back! A tight fit in back and a concealed opening usually means a French lining; you can probably deduce the rest….

Vintage garment with very full front. The lace was accented with large French knots. It does not have a visible opening in front or in back.

Butterick 3816, Delineator, May 1910.

Butterick 3816, May 1910. The gathers are stitched to the lining; they won’t slide around or come untucked, and the V’s in back and front will never gape.

12 Comments

Filed under 1870s to 1900s fashions, 1900s to 1920s, 1910s and WW I era, 1920s, Costumes for the 19th century, Dresses, Edwardian fashions, Late Victorian fashions, Resources for Costumers, Tricks of the Costumer's Trade, Vintage Garments: The Real Thing, Vintage patterns

Ten Blouses from 1920

A blouse and skirt combination from March, 1920. Delineator, page 135.

Blouse patterns were featured in May and June Delineator magazines. You’ll see those tasseled rope belts on several of them. Some of the overblouses are quite long.

Butterick blouse 2350 has raglan sleeves and front and sleeve lacing.

Butterick blouse 2362 looks like two garments, but the center panel is a “vestee.” May, 1928.

Blouse 2381 has a distinctly Twenties’ look:

Blouse 2381 is relatively shapeless. It’s a hint of later Twenties’ styles; the kimono sleeves are cut in one with the blouse and the hem reaches the hip.

The short, frilled sleeves came back in 1929 -1930.

Butterick blouse 2385 from Delineator, May, 1920, p. 150.

Butterick blouse pattern 2347, Delineator, May 1920, page 150.

Although the model’s face is young, this blouse has a “mature” feeling to me —  and it was available up to bust size 46.

Back views of the patterns from Delineator, May 1920, p. 150. 2385 has a two-pointed swallowtail back. 2381 looks very different with a square neck, hip band, and long sleeves.  The fronts can be seen here:

Blouses from Butterick patterns, Delieator, May 1920, page 150. From left, 2350, 2385, 2362, 2381, 2347.

Another group of blouses appeared in June:

Butterick blouse pattern 2415 from Delineator, June 1920, page 110. It does not have a sailor collar, although the tie suggests a girl’s middy.  There is nothing sporty about those cuffs! Note the contrasting bias trim.

Butterick 2434 from June 1920. This shape is similar to a beaded and appliqued vintage blouse you can read about here.

Butterick blouse 2401 from June 1920. It’s  slightly different from May’s  No. 2362, which had a yoke effect at the shoulders.

Long blouse 2407 was described as “Chinese.”

Butterick blouse 2426, June 1920, Delineator.

Five blouses from Delineator, June 1920, page 110.  Top left, 2434; center, 2415, top right, 2401; bottom left, 2426, bottom right, 2407.

Back views of blouses from June 1920, page 110.

Blouse 2214 (not one of the ten) was featured in color in March, 1920. I included it to show two of the skirts that might have been worn with these blouses.

A blouse and skirt combination from March, 1920. Blouse 2214 with skirt 2170. Delineator, page 135.

Pleated skirts or narrow skirts could be worn with these blouses.

The drawing of these 1920 faces and hairstyles is also interesting  — worth a second look.

Edit 11/28/18: Here is the pattern description of blouse 2214 and skirt 2170.

7 Comments

Filed under 1900s to 1920s, 1920s, Sportswear, Vintage patterns, Vintage Styles in Larger Sizes

Chiquita Banana Costume, 1951

Butterick 5971 suggests making matching mother and daughter Chiquita Banana costumes. Butterick Fashion News flyer, December 1951.

This costume is nostalgic for me. I can still sing the first line of the Chiquita Banana song: “I’m Chiquita Banana and I’ve come to say….” But I had to look up what it was that she said!

You would be gathering and bias-tape-binding yards of ruffles if you opted for a “Chiquita” costume. The “banana” doesn’t seem to come into it.

Text for the Butterick pattern. It was not issued in time for Halloween, but I bet lots of amateur theatricals had “Latin” numbers.

Butterick apparently licensed the rights to call its costume pattern by this name, although it bore very little resemblance to the original, which had a bolero top with ruffled sleeves.

Alternate view and Chiquita brand logo, 1951. Chiquita’s was meant to suggest a basket of fruit — with her stem sticking up through the center.

The Chiquita company still uses a ruffle-clad woman in its logo.

The song first appeared as a radio advertisement in 1944 — and its purpose was to tell people how to recognize a ripe banana, and to remind them not to store bananas in the refrigerator.

“I’m Chiquita banana and I’ve come to say – Bananas have to ripen in a certain way – When they are fleck’d with brown and have a golden hue – Bananas taste the best and are best for you – You can put them in a salad – You can put them in a pie-aye – Any way you want to eat them – It’s impossible to beat them – But, bananas like the climate of the very, very tropical equator – So you should never put bananas in the refrigerator.” — Chiquita Company Jingle

By 1951, when this pattern was issued, people could see the animated commercial in movie theaters and on TV. The tune was embedded in my brain by the time I was six. The Chiquita Company says, “At its peak, the jingle was played 376 times a day on radio stations across the United States.”

Thanks to YouTube, you can watch the original animated Chiquita ad by clicking here.

Astonishingly, a version of the song with less obviously instructive lyrics became a huge hit, covered by many singers. Here is one such version. Inevitably, the song was linked to Carmen Miranda in the public mind. If you search for a Chiquita banana costume today, you’ll find lots of Carmen Miranda costumes instead. A documentary about her is called Carmen Miranda: Bananas Is My Business. [I just learned that she has been credited with popularizing platform shoes!]

Many internet sources say that Miranda wrote the ad jingle. She didn’t.

According to the Chiquita company’s Jingle page the original ad was the work of three men: “Chiquita Banana” (words and music by Garth Montgomery, Leonard Mackenzie, William Wirges) under license to Chiquita Brands L.L.C. © 1945 Shawnee Press Inc.

Sarah Skwire wrote delightfully on this topic, so I recommend you click here to read her essay on the wildly popular Chiquita Banana song. She is right about the wartime scarcity of bananas; I remember reading a memoir of British writer Evelyn Waugh in which his children watched him eat the first banana they had seen in years. They remembered it because he ate it in front of them and did not share even a bite.

has written about the commercial’s resultant “Latina” stereotyping in her essay “Miss Chiquita Banana: Here to Stay, for Better or Worse.”

All things considered — history-wise — I wouldn’t rush to make a nostalgic Chiquita Banana Halloween costume today — even though it does look much better in this red, yellow, and black version used on the pattern envelope.

Color image from A History of the Paper Pattern Industry by Joy Spanabel Emery. Please do not copy.

7 Comments

Filed under 1940s-1950s, 1950s-1960s, Children's Vintage styles, Musings, Old Advertisements & Popular Culture, Vintage patterns

1930 Golf Culotte Dress

Butterick golf culotte dress pattern 3285. Delineator, June 1930.

This one is for The Vintage Traveler, who writes about and collects women’s sportswear. I do wish the original page I photographed had not been so faint; in trying to show details of the dress, I may have “enhanced” the photos a bit too much! (The lady golfer is illustrated with a deep tan, but by trying to show her dress more clearly, I have almost erased her face.)

The page title was Country Clothes Designed for Smart Places.

A selection of clothes for the country; Butterick patterns from June 1930.

That probably explains the model’s trim spectator pumps:

Wait — is this a dress (“frock”) or a skirt and [“tuck-in”] blouse? A skirt would be much more practical  when nature called — no woman I know enjoys disrobing in a public restroom cubicle. The short sleeves are a new feature in 1930.

The “tuck-in blouse” of Butterick “culotte frock” 3285. I like the way the colored band around the neckline becomes binding for the button placket(s).

Notice the belt that accentuates the natural waistline — still new in 1930. And the knees are well covered by the new, longer skirt.

When the model is standing normally, the pleats front and back would conceal the fact that this is a trouser skirt. [In trying to show the “trouser” effect, the illustrator may have exaggerated the shadow. The fabric is not sheer.]

Top stitching controls the pleats for many inches. This enlargement shows the back view — with longer sleeves and the blouse untucked.

I find this outfit quite attractive — almost timeless, but it’s eighty-eight years old. The illustration is by Marian Blynn.

Butterick culotte frock 3285, June 1930. Delineator magazine.

 

 

7 Comments

Filed under 1920s-1930s, 1930s, Shoes, Sportswear, Vintage patterns, Women in Trousers

Postcard #2 from My Vacation at the Library

Three fashions for daytime, Delineator magazine, March 1929, page 29. They have characteristic dropped waists, a horizontal line across the hip, and hems that barely cover the knee.

Less than a year later:

Fashions for daytime, Delineator magazine, January 1930. Butterick 3007 and 2984, on sale in January 1930, demonstrate the transition from 1920s to 1930s.

It’s obvious that by January 1930, the change from the low-waisted, short-skirted 1920’s silhouette was already well under way.
At a first glance, these suits do have a 1920’s look, but the return to the natural waistline and the move toward longer hems which they demonstrate is also illustrated on this catalog cover.

Ad for Butterick Quarterly from Delineator, January 1930, p 76.

It’s remarkable, when you consider the lead time for creating sewing patterns and for magazine publication: The design has to be approved, made into a prototype (muslin) and patterned,  made up in fabric, modeled for the illustrators, “graded” up and down to a full range of sizes, and set into mass production before being issued and publicized in magazines, etc. This suit was not designed in January 1930, but several months earlier.

Butterick 2984 took months to develop and have ready for sale in January of 1930.

It looks very much like the popular cardigan-jacketed suit of the Twenties, complete with a long neck tie, but the skirt has a natural waist and a seam line at the familiar 1920’s hipline. The jacket is long, falling well past that old hip-level design line, and the skirt falls three or four inches below the knee.

Butterick Quarterly cover, January 1930. Suit 2984 is on the right, and is shown in a different illustration below..

Butterick 3007 (L) and 2984 (R) from January 1930. No. 3007 has a low hip seam and unstructured bodice that allows the wearer to put the belt where she likes.

Two other observations: The three-quarter length coat was a popular 1930 option, and in 1930, a “sleeveless” dress really was sleeveless.

I’ve been curious about the transition from 1920s to 1930s; apparently it happened very fast!

2 Comments

Filed under 1920s-1930s, 1930s, Old Advertisements & Popular Culture, Sportswear, Uncategorized, Vintage patterns

Fashion Advice for Summer, 1933 (Part 2)

Beach pajamas [aka pyjamas]; detail from Delineator cover, August 1933.

When we think of summer fashion, we usually think of loose clothes, cool dresses with bare arms and backs, and sporty clothing suitable for vacation activities. Here is Part 2 of summer fashion advice from Marian Corey, writing in Delineator,  June 1933. [Click here for Part 1.]

For Tennis

Butterick 5182, at right; “The pinafore frock that buttons down the back is THE tennis dress.” Delineator, June, p. 61. (This is the only illustration of it that I found.)

Delineator, June 1933, p. 61.

Like dress 5182, Butterick 5025 buttons in back:

“Bermuda” is the name given to this dress (Butterick 5025) which, like tennis dress No. 5182, buttons down the back. “…Known technically as a beach dress although it is far more apt to be worn off the beach than on.” Delineator, April 1933.

Notice the bare backs and chic suntans of these blonde models.

“Hello Everybody” is the name given to Butterick 5021, at right. From Delineator, April 1933.

Bicycle Clothes

Clothes for bike riding and skating, Delineator, June 1933.

I didn’t find any illustrations of divided skirts in this issue, but there were good-looking slacks or beach pajamas, and shorts sets, too,

Butterick 5219 could be made as trousers or shorts. Delineator, July, 1933.

The Talon fastener — a slide fastener or “zipper” — was still new in 1933; many dressmakers would not know how to install one.

Butterick slacks pattern 4884 had a sailor influence in its double row of buttons. The shirt pattern was included.

https://witness2fashion.files.wordpress.com/2016/01/1934-june-p-17-sea-sun-sand-4884-5219-pants-500.jpg?w=423&h=498

Left, Butterick 4884 photographed for Delineator in June, 1934. The reclining model wears Butterick 5219.

Shorts (or slacks) pattern 5219 was featured again in July; this time No. 5219 was christened “Eight Bells.”

Slacks pattern 5219 (“Eight Bells”) pictured with a bathing suit, 5215 (“Seawothy.”)  Delineator, July 1933, p. 60.

For those too young to remember, this was what roller skates looked like in the 1930’s; they were the same in the 1950’s, when I learned to skate:

You could earn a pair of skates like this by selling subscriptions to Ladies’ Home Journal. Ad from LHJ, August 1936. My skates could only be used with leather-soled shoes; the clamp at the front was adjusted with a “skate key,” but slipped off of tennis shoes.

The Pretty and the Kitsch blog happened to show this photo of women roller skating in trousers (like Butterick 4884 or 5219) or beach pajamas. The photo is not dated precisely, but it’s apt! Thanks, Emily Kitsch.

Bathing Suits

“Don’t get a wool jersey bathing suit — the wool suit isn’t enjoying its usual popularity. The rubber bathing suit and the cotton ones are making it look sick.” Marian Corey, Delineator, June 1933. p. 61.

Wool bathing suits in an ad for Ironized Yeast, Delineator, March 1933.

A wool bathing suit — and especially a heavy, soaking wet, wool bathing suit — did not camouflage any figure faults:

Wet wool bathing suits, late 1920’s or early 1930’s. All (well, nearly all) is revealed as the weight of the cold water pulls the knit suits tight against the body.

This cotton bathing suit was designed by Orry-Kelly for Bette Davis, seen wearing it. Butterick briefly offered line-for-line copies of clothing worn in the movies, as “starred patterns.” This one is from June, 1933; Delineator.

Marian Corey recommended cotton bathing suits, like this one, Butterick pattern 5215. June 1933.

Two versions of Butterick bathing suit 5215, from July and June, 1933.  “Jersey tights” were worn under the skirt  or shorts.

[You can read more about Butterick Starred Patterns from several movies: costumes for Bette Davis by Orry-Kelly, Katharine Hepburn by Howard Greer, Mary Astor by Orry-Kelly, Kay Francis by Orry-Kelly, and Helen Twelvetrees by Travis Banton.]

If you’re curious about the “beguiling” drawstring neckline dress mentioned by Marian Corey, here it is:

Butterick 5173, a dress with a drawstring neckline; Delineator, June 1933, p. 62.

And here are two rubber bathing suits featured in McCall’s Magazine, July 1938. In case Ms. Corey piqued your interest: “We know you can think of dozens of reasons why a rubber suit wouldn’t suit you, but even so and nevertheless! You see, they’re good-looking, and so nice and cheap, and they give one quite a figure.”

https://witness2fashion.files.wordpress.com/2015/04/p-70-bathing-suit-btm-text-500.jpg?w=500&h=405

Rubber bathing suit pictured in McCall’s Magazine, July 1938.

https://witness2fashion.files.wordpress.com/2015/04/p-71-bathing-suit-top-500-text-rubber.jpg?w=500&h=351

Rubber bathing suit pictured in McCall’s Magazine, July 1938.

Beach Pajamas

Gingham beach pajamas and bare shouldered sundress. Butterick 5133 and 5075 , Delineator, May 1933.

In “Gingham Girl” one can crawl about on hands and knees and get in the way of the garden hose without any harm being done. “Gingham Girl ” takes housework in its stride, too, doing away with bulky and unattractive aprons.” “New Low” is the thing for tennis, for there’s nothing to hinder the most smashing serve.” — Delineator, May 1933, p. 52.

Now I’m ready for July.

7 Comments

Filed under 1930s, Bathing Suits, Old Advertisements & Popular Culture, Sportswear, Swimsuits, Vintage patterns, Vintage patterns from the movies, vintage photographs, Women in Trousers, Zippers