Category Archives: Vintage Styles in Larger Sizes

Formal Styles for October, 1926

Afternoon dresses for formal day-time occasions; Butterick 1016 (for “the social butterfly”) came in very large sizes;  7079 is for formal afternoon events, dinners, theater, etc. From Delineator, October 1926.

“1016 — Paris meets the formal demands of Autumn and Winter with frocks suitable for weddings and receptions, for luncheons, tea and bridge. The cut rather than the fabric makes the difference in this mode, for satin crepe, crepe de Chine and crepe meteor are used for simple dresses as well as for the social butterfly shown at the left.  Satin crepe is used for the body and straight skirt and its reverse side for the collar and one-piece slip. The other materials area smart in two shades of the same color or in two harmonizing colors. Georgette and silk voile make charming frocks over matching slips of taffeta or satin…. The collar makes it becoming for women from 36 to 52 bust.” — Delineator, Oct. 1926,  p. 43.

The matte side of the double-sided crepe satin is shown as a lighter color; the shiny side on the lapel, slip and sleeves is shown as a darker color.

Butterick 1016, on the left, was available for women in sizes up to 52 inch bust measure. Pattern no. 7079 came in the standard range of sizes:  32 to 44 inch bust measure. Hems — even for older women — are at the bottom of the knee.

“7079 — One for every wardrobe should be the ruling for the type of one-piece frock illustrated at the right. Its circular frills and smart sleeve make it what the French dressmaker calls a dinner frock. It leads a double life of great usefulness, for it takes care of all afternoon engagements and answers for small, informal dinners, the theater, and nightlife on an ocean  liner. Chanel red — a dark peony color — in Georgette with the flower of ribbon in the same color, silk voile in string beige with the flowers of lemon and silver ribbon, fern-green moire, black Georgette with jade, with almond, with royal blue or flesh are excellent day and night colors. The lower edge measures about 44 inches…. The style is extremely becoming to women from 32 to 44 bust.” — Delineator, Oct. 1926,  p. 43.

This dress is for “informal dinners” or afternoon wear because it has sleeves. Evening gowns had deeper necklines, no sleeves, and deeper-cut armholes than formal day dresses. The ribbon pom-pom at the shoulder is apparently an important part of the dress. A very long necklace creates a flattering vertical line, although this dress does not have a hip band.

Beaded evening gowns were appropriate for very formal wear, and a truly determined woman could make her own:

Butterick frock pattern 1048 could be made to resemble this illustration if you also used Butterick embroidery and beading transfer 10481. Delineator, Oct. 1926. An alternate view shows it with sleeves and a higher neckline.

There is a copy of this pattern in the Commercial Pattern Archive, which shows the neck and sleeve differences. Some readers have commented that Butterick patterns from the 1920’s and 1930’s often seem much too difficult for a woman to make herself. In fact, since they were aimed at upper-middle-class women, many Butterick patterns must have been made by a professional seamstress, “the little dressmaker” who existed in almost every town. In the case of Butterick 1048, with all that hand beading, the customer was asking a lot!

This lace frock, Butterick 1043, is less formal than a beaded frock, but still very elegant, and more versatile. Delineator, Oct. 1926. It has a trailing “wing cascade” and is ornamented with a fake-flower pom-pom, probably of feathers, velvet, or silk chenille. Notice the bangle worn on her upper arm.

Butterick’s dolman evening coat 7084, in metallic brocade, is shown with Butterick evening dress 1041. Delineator, October 1926. In the twenties, bits of dress were often seen peeking out from the coat’s hem.

Right,Butterick evening frock 1041, October 1926, Delineator. The dress seems to be made of metallic moire, with sheer chiffon panels which have picot edges.

Alternate views of coat 7084 and frocks 1041, 1048, and 1043. Butterick patterns from October 1926. Here, 1041 is shown in an afternoon version, with sleeves and higher neckline.

A picot hem can be faked with a ziz-zag stitch. Sew Historically wrote about how picot hems were done in the 1920’s and also provides a tutorial on faking them with a modern sewing machine. [Note: Always allow your reproduction chiffon dress to hang for several days before finalizing its hem. Chiffon on the bias will stretch … a lot! Gee, I wonder if all those irregular, drooping-hem fashions of the twenties were making a virtue out of necessity….]

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Beauty Advice from the Nineteen Twenties: Keep Your Chin(s) Up

Ad for Catherine McCunes’s Silk Muscle Lifting Mask, January 1928, Delineator magazine. “Note How Mask Lifts and Supports Sagging Facial Muscles.”

Title of a page of beauty advice by Celia Caroline Cole, Delineator, May 1927, p. 35.

The cherubs turn away in distress from the sight of a double chin.

Cherubs avert their eyes from a double chin in this illustration by L. Fevrier. 1927.

In this 1918 ad for rubber reducing garments, a chin strap could be bought for seventy-five cents.

In 1918, the Bailey Rubber Company sold reducing garments, including a “chin band for reducing double chin.” The rubber garment idea was to dissolve body fat by sweating — like rendering lard from a side of beef. Fat and water, however, are not the same thing.

Catherine McCune promised that wearing her Muscle Lifting Mask would wipe out wrinkles, too. Ad from Delineator, Oct. 1927.

Elizabeth Arden ran a series of ads with this disturbing image; this woman is not recovering from surgery, but receiving a beauty treatment:

The Elizabeth Arden salons sold cold cream, skin tonic, astringents,  and other beauty preparations. This image comes from an ad in Delineator, April 1925. “Tones, firms, whitens and refines the skin.” “Use a Patter for brisk resilient strokes.”

This ad is selling Elizabeth Arden’s Amiral “reducing soap” “for a double chin:”

Ad for Elizabeth Arden’s Amiral Soap, November 1924. “Absorbed by the skin, it breaks down fat by a natural harmless process, stimulates circulation to remove fatty waste.” [If only spot reduction were that easy….]

It’s probably not a coincidence that Delineator’s beauty writer, Celia Cole,  vouched for the efficacy of astringent soap, “skin food,” and even salon reducing treatments that used electricity. She doesn’t name the salon, but those monthly ads paid for by Elizabeth Arden may have had some influence on the editorial choices of Delineator magazine.

From “Chins in the Air”, by Celia Cole. Delineator, May 1927, p. 35.

Those Elizabeth Arden ads offer the “Arden Patter” (for spanking your double chin) for five dollars. Five dollars! In 1925 !

“Perfectly scientific” beauty treatments as described in Delineator, May 1927. To be fair, Celia Caroline Cole also recommended exercise.

Illustration by Brunner for an article on weight loss, Delineator, September 1928. “Floors trembled and ceilings fell from woman’s effort to get thin. Somebody wrote a book about calories…. The lettuce business increased six-fold in ten years.”

Compared to chin “patters,” pseudo-scientific ointments, and electric shocks, maybe the Silk Muscle Lifting masks weren’t the craziest way to spend money in a attempt to preserve your youth.

Complete ad for Silk Muscle Lifting Mask, Delineator, January 1928.

Complete ad for Muscle Lifting Mask, Delineator, October 1927. It was worn while sleeping, or for a few minutes every day. “Much less expensive than plastic surgery or deep peel.” [Did you realize those treatments were available in the 1920’s?]

A no-longer youthful woman ponders her reflection, May 1927. Delineator.

If you are interested in the history of fashion for the mature woman, you might enjoy a visit to AmericanAgeFashion.

Wrigley's gum Curve of Beauty ad 1934 july

Another, [perfectly unscientific] series of ads recommended chewing Wrigley’s gum as a beauty treatment for the facial muscles. I took me three blog posts to share all the ads I found: Chew Gum for Beauty (Part 1), Part 2, and Part 3. The ad above is from 1934. “Keep [your cheek line] from looking old and saggy; chew Double Mint gum. This gentle exercise 5 to 10 minutes daily aids in toning up unused and lazy facial muscles. Try this new Beauty Treatment.”

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Back to School Clothes, Fall 1927

“All Aboard for School or College: Butterick patterns for young women, Delineator, August 1927,  top of page 28.

“The Smart Mode on Campus:” Butterick patterns for young women and girls, Delineator, August 1928, top of page 29.

“For the Young and Younger Student:” Butterick patterns for girls, teens, and women. Delineator, August 1927, top of page 32.

“Semi-Formal Frocks for College:” Butterick patterns from Delineator, August 1927, top of page 33.

There’s a lot to like about these outfits; for one thing, they have the proportions I think of as “Twenties’ Style.” I was pleased — and surprised — to find that many of these patterns were also sized for mature women. In fact, it’s very hard to distinguish between 1927 styles for girls and styles for adults on these pages. For those who are deeply interested in the 1920’s, the descriptions of the dresses remind us of a more formal and structured society — the wildness of the “Roaring Twenties” notwithstanding. I’ll include closer views, alternate and back views, and the full text that appeared on these four pages.

Book recommendation: British author Elspeth Huxley attended Cornell University in the U.S. in 1927. Her memoir Love Among the Daughters: Memories of the Twenties in England and America is an insider’s/outsider’s view of American college life.

Butterick 1526, is a “frock for the classroom” for ages 8 to 15 years;  1544, is also for 8 to 15 years;  and 1589, for 15 to 18 years and adults to bust 44″. August 1927. The young girls’ dresses are as stylish and complex as those for adults.

Butterick 1569, for women aged 15 to 20 and in sizes 38 and 40. For football games “this is the frock to wear beneath your fur coat.” Butterick 1566, for girls 8 to 15, has a square neckline attributed to Vionnet. The blouse has a chic monogram. August 1927.

Butterick pattern 1562 is for young girls 8 to 15; 1556 is a coat for young girls and women 15 to 18 years and women with bust 36 to 44 inches. No. 1519 is for teens 15 to 18 and women all the way up to size 48! August 1927.

Butterick coat 1550 has a “mushroom shawl collar” and was available in sizes 15 to 18 years and sizes 36 to 44. For an explanation of “Size 16 Years,” click here. “School costume” 1583 is a two-piece outfit in sizes 15 to 18 years and women’s sizes 38 and 40.

The second dress, No. 1563, is very similar to 1569, for smaller women. The fourth outfit, No. 1532, is a girl’s variation on 1589.

Similar fashions from August 1927. There is no indication of anything “childish” in No. 1532; were children dressing like women in the twenties, or was it the other way around?

Butterick 1554 is “for the boarding-school girl” aged 8 to 15 years. Butterick 1563 was available from size 15 years to women’s size 44, and 1553 was also sized for 15 year-olds to women with a 44 inch bust. Its belt glides in and out of the skirt.

Butterick 1532 is “correct for school wear” for girls 8 to 15,  and “school coat” 1586 is also for girls 8 to 15 years. August 1927.

“Semi-formal” dresses for college women. 1927.

Butterick 1575 “for the formal occasions of school or college” has a “straight Vionnet neckline” and opens under the left arm, so the bodice can fit closely. For 15 to 18 years and in sizes 38 and 40. No. 1565, seems much more sophisticated (or is that because of her severely cropped hair?) It was intended for teens and for adult women up to size 44. Butterick 1581 is also suitable for teens or adults. “Concerts and that important institution, the ‘Sunday-night supper’ of schools and colleges, require a formal frock on this order.” From 1927. (Even in the 1960’s, at my women’s college we were required to “dress” for dinner, and to be back on campus by Sunday evening. Luckily, “dressing” in 1965 just meant wearing high heels and stockings with our normal school clothes.)

Butterick dress 1541, for teens and small women, is a versatile pattern; depending on the fabric used, it could be a day dress or a semi-formal one. Butterick 1577 could be made “without sleeves and with an evening neckline” to be worn to proms. As shown, it’s an afternoon dress.  For teens and small women. 1927.

Did women really dress this formally for school or college? Didn’t most female students usually wear a skirt and blouse or sweater for attending classes? Well, Delineator aimed at a middle-class readership, and it should be noted that all these dresses are for women going away to school, to boarding schools or colleges, and not to a public institution close to home.

I also wonder if this way of showing Butterick’s new dresses was really a good idea; did all readers realize, by reading the descriptions, that many of these styles were suitable for mature women, and came in sizes equal to a modern size 22, or bigger? (See dress 1589, coat 1556, coat 1550, dress 1519, dress 1563, dress 1565, and dress 1581.)

That many styles were considered suitable for mature women and college girls does emphasize the importance of a youthful look in 1927.

 

 

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Twenties’ Fashions for Larger Women, September 1928

One of these dresses was available in size 52. Butterick patterns in Delineator, September 1928, p. 36.

The fashion editors at Delineator magazine often grouped patterns for larger or more “mature” women together in a one-page article, but in the September 1928 issue, large-sized dresses were shown beside patterns for college girls and women of standard sizes. I’ve long been surprised than in the mid-twenties, when the “Boyish” figure was extolled, the standard Butterick pattern sizes — based on bust measurement — were 33 to 44 inches. But some patterns were issued up to “bust measure 52 inches.”

Left, pattern 2226 for college and career girls; right, pattern 2211, for women with bust sizes up to 52 inches. From 1928.

Details of Butterick 2226, for 15 to 20 years and bust 32 to 40;  and Butterick 2211,  an “all day frock” for sizes 34 to 52. Delineator, Sept. 1928, pg. 35. Are those herringbone stripes in this wool dress?

Top of page 35, which featured wool frocks and coats in sizes from 15 years (bust 32″) to size 52.

Butterick frock 2233 and coat 2230. The coat was sized from bust 32″ to 48″. Delineator, Sept. 1928, p. 35. Note the coat’s triangular pockets, which “merge” into a belt. And what was going on with that dress front? Over? Under?

Butterick 2209 and 2217. To me, the dress on the right, with its little “lingerie finish” ruffles and conservatively feminine qualities, looks like something aimed at mature women, but it is only offered in smaller sizes: age 15 to 20 years and 38, 40 [bust].

The unusual front tabs and sleeves on Butterick 2209 are worth a closer look:

Detail of Butterick 2209 and 2217, Sept. 1928. No. 2209 (left) was available for bust sizes 32 to 44.

“Sport Clothes” to wear to the “big games.” Delineator, Sept. 1928, top of pg. 34.

The second dress from the left looks rather fancy for watching football; the dress on the top left was suggested for larger-than-average women.

Butterick 2231 and 2221, from 1928. No. 2231 was available up to bust size 52 inches.

A vestee is a kind of dickey — a partial blouse.

Some of these dresses have skirts that are plain in the back, with all the fullness, pleats, etc., in the front. This was common in early twenties’ dresses, and still seen here, on some dresses, in 1928. (Patterns 2226 and 2211 show pleats in back, too.)

The back views of Nos. 2226 and 2211 show pleats in the skirt back, too.

Nos. 2193 and 2180 (plaid) have plain skirts in back, with pleats only in the front.

Butterick wool sports frock 2193 and coat pattern 2151. September 1928. Only the front of 2193 is pleated. Both dress and coat are in the average pattern size range. For a dressier version of the same coat, click here. 

This jaunty plaid coat and dress were not limited to slender women:

Butterick two-piece dress 2180 coordinated with coat 2222. September 1928. This “youthful and becoming dress was for bust 32 to [a bigger than average] 46. The coat pattern came in a standard range of sizes, 32 to 44 (with a 47.5″ hip.) I love the diamond shaped “belt encrustation.”

As for evening gowns, the pattern on the left was available up to size 52.

Butterick evening dresses from 1928. Left, no. 2131, with a long side drape, for sizes from 34 to 52; right, Butterick 2125 in sizes from 32 to 44 bust.

Here are some advertisements from the same issue of the magazine. For “the larger woman,” hosiery manufacturers offered slenderizing styles like this one:

From an ad for Allen-A hosiery, Delineator, Sept. 1928. “Note the slenderizing effect this new, longer point Allen-A Heel gives to the ankle.”

Shoe advertisements show that even brands which promised comfort to mature women offered some very high, narrow heels.

Top of Dorothy Dodd shoe ad, Delineator, Sept. 1928.  “Dorothy Dodd shoes are designed to make the foot look youthful.”

Ad for Dorothy Dodd shoes (this image is slightly skewed at the bottom.) Delineator, Sept. 1928.

Queen Quality shoe ad, Delineator, September 1928. The “Sherwood” and “Tiffany” models look like somewhat practical walking shoes, but the “Trickie” (lower left) seems aptly named.

“And Queen Quality keeps the cost of all four pairs less than the cost of a single frock.” They total $37.00 — not an inexpensive frock! (They are not cheap shoes.)

This jersey dress could be ordered for $8:

Ad for a Hubrite wool jersey dress, Delineator, September 1928, p. 101.

Hubrite dress in sizes 16-20 — 36-46. Ad in Delineator, Sept. 1928.

 

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Autumn Color for 1928

“The Elegance of Drapery” was the caption for page 28; from left, Butterick patterns 2205, 2178, 2203, and 2207. Delineator magazine, Sept. 1928.

Patterns for women could be intricately cut or relatively simple at the end of 1928. Luxurious, “dressy” fabrics were suggested, and many of these are rather formal afternoon dresses. The text mentions some wrap-around skirts, too.

At the end of summer, clothing that could carry into winter was illustrated. Delineator, September 1928, top of page 29.

In its September issue, Butterick’s Delineator magazine showed some outfits in full color, and others in black and white illustrations enlivened with rust or peachy-tan tones.

“Velvet takes first place among plain and printed fabrics.” Back views of Butterick 2234, 2235, 2201, 2213, 2219, and 2214. Delineator, September 1928, pg. 32.

Velvet — in prints or solid colors — was the theme for these dresses in Delineator, September, 1928. Butterick patterns 2234, 2235, 2201, 2213, 2219, and 2214.

Closer views, from the top:

Left, Butterick 2205; right, 2178. Sept. 1928. The text describes the wrap-around skirt of 2205 as dark red, rather than rust.

The elegance of drapery, Delineator, Sept. 1928. In the early 1920s, skirts often had a straight, simple back, with all the fullness of flounces and godets limited to the front of the garment. “Here they appear at the back as well as the front.”

The elegance of drapery: Butterick 2203 and 2207. Delineator, Sept. 1928. The blue “bolero” dress is made from printed velvet. (Powdering your nose in public — admitting that you wore make-up — had just become acceptable … within limits.)

In the twenties, a “bolero” did not need to be above the waist.

Butterick 2197. Delineator, Sept, 1928, page 29. “Rust brown wool” was recommended for this “street frock.”

Butterick 2188 has a panel running from the skirt, over the shoulder, and around the neck like a scarf. It was available up to 46 inch bust size.

Text describing Butterick 2188, September, 1928. Delineator, p. 29.

This odd style was not unique. A similar “skirt becomes scarf” effect was seen in Butterick 2213:

Butterick 2213 and 2188. 1928.

In fact, 2188 was featured two months in a row. Here it is from August 1928, using a bordered fabric in three shades:

In August, the suitability of this pattern to larger (or older) women was mentioned. Perhaps the straight “line of youth” is why she looks so narrow….

Also from page 29 of the September 1928 issue, this formal dress and coat ensemble would complete a daytime social wardrobe. Butterick 2176 and coat 2149.

Details of Butterick 2176 and 2149. 1928. The dress has a metallic top and a velvet wrap-around skirt. The cut of the skirt is complex, but the bodice and coat are relatively simple.

More patterns for velvet dresses were shown on page 32:

Butterick patterns 2234, 2235, and 2201 were suitable for velvet, a more autumnal fabric than crepe or chiffon. 2235 has a wrap-around skirt.

Patterns 2235 and 2201 were available in larger than average sizes — 48 and 46, respectively.

Velvet was suggested for Butterick 2213, sheer wool or double sided crepe for  2219. Coat 2214 is very simple. Delineator, Sept. 1928, p. 32.

There is an interesting dichotomy between the soft and droopy “draped frocks,” with tiers or panels dipping below the hem, and the more geometric, Deco-influenced ones, appealing to women with different tastes in fashion.

Soft dresses, with bows, tiers of flounces, or panels that dip below the hem. Delineator, September 1928.

Dresses with straight, geometric lines. Same magazine, September, 1928.

 

 

 

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Summer Patterns from June, 1929

The illustrator gave this dress a lovely, breezy look.

Butterick 2660, made in a dotted border print. Delineator, June 1929

The “new kimono sleeves” were attributed to Chanel in the description of another Butterick pattern:

A not-quite-sleeveless print dress has a matching jacket; it is shown with either a straight hem or one that dips in back. Butterick 2646, Delineator, June 1929.

Sleeveless dresses were usually reserved for evening wear until the late nineteen twenties.

These attractive outfits were described as “resort wear.”

These “resort” outfits are actually skirt and blouse combinations. On the left, Butterick blouse 2643 with skirt pattern 1211. Right, Blouse 2453 with skirt 1529. Delineator, June 1929.

Oddly, no jacket pattern was suggested, although the model has a matching jacket in her hand. The skirt patterns are not new; you can tell from their numbers (1211 and 1529) that they were available in previous years. Both date to 1927.

Another charming suit, in plaid, was truly sleeveless.

Butterick dress 2679 has a surplice line, recommended as slimming — available up to size 48. Suit 2674 has a truly sleeveless dress. Like other patterns from June 1929, a series of tucks creates a little fullness for the bust. Tucks in the back neckline can  be seen in several of these patterns. (Illustration: M. Blynn)

You can see this solid-color version of the suit, with fagoting at the hemline, in the background of the larger illustration.

This resort outfit is not a dress; no jacket pattern was suggested, but the model is holding a jacket.

Another “resort” outfit looks very dressy but is a versatile skirt (Butterick 1859) and blouse (Butterick 2673.) June 1929.

The long button tab on the blouse was echoed in a Butterick dress (below right.)

Butterick 2641, for young and smaller women, is illustrated in a large-scale floral print; Butterick 2687 has a lot of center front interest.The dress on the left is a more conventional twenties’ style — but many of these patterns show experiments with curving hip lines.

A resort wardrobe wouldn’t be complete without sheer, float-y dresses for those formal afternoon teas and tea dances.

Left, Butterick frock 2656; right, Butterick 2661. June, 1929. The pale lace dress shows off the lady’s chic new suntan.

Described as “Grandstand frocks,” the lace afternoon dress on the left is quite formal (Butterick 2672.) The pleated frock on the right is elegant, but also suitable for spectator sports (Butterick 2571.) (Illustrator: Marian Blynn.)

 

Just the thing to wear while drinking champagne and toasting the winner….

Illustrators: Primarily Myrtle Lages and Marian Blynn.

Signed by illustrator Marian Blynn

 

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100 Years Ago: Women’s Bathing Suits for 1917

The knit bathing suit illustrated in this ad for Luxite Hose is considerably more revealing than the suits that could be made from Butterick patterns in 1917. Delineator, June 1917, page 50.

A friend once gave me a bathing suit as a birthday gift, with the explanation, “The swimsuit isn’t the real present. The real present is that now you don’t have to go through the agony of shopping for a swimsuit.” She was right. Getting a glimpse of my aged,  fish-belly white thighs in a department store’s three-way mirror is never the highlight of my summer.

Butterick bathing suits for June, 1917. Top of page 64, Delineator magazine.

On the other hand, even though these bathing suits from one hundred years ago would cover my thighs, I doubt that they would be flattering in any other way.

Butterick bathing suit patterns from Delineator, July 1917, p. 53.

I always enjoy seeing multiple versions of a pattern; most of these suits were illustrated in two ways in June of 1917 and in another two ways in July. They are all Butterick patterns from Delineator magazine. It’s also interesting to see the line drawings that show alternate views and the under-layer, which is often lost in vintage bathing suits.

Butterick 9201, a bathing suit for 1917

One version of Butterick 9201 from June 1917.

A sleeveless version of Butterick bathing suit 9201. Delineator, June 1917, p. 64.

A third version of Butterick 9201, July 1917, Delineator, page 53.

A fourth, striped, version of Butterick 9201, from Delineator, July 1917, p. 53.

This view from June 1917 shows the bloomers attached to an underbodice, or underbody,  which was worn under the “blouse” of Butterick 9201.

All four versions have ruffled pockets. I won’t show descriptions of all four versions, but the basic information is contained in this one.

The fabrics and colors only apply to the sleeveless, square-necked version. Other versions suggested were purple, navy, scarlet, or green, in wool jersey, satin, or taffeta. The pattern was available in sizes 30 to 44 inches bust measure.

Butterick 9219, a bathing suit from 1917

The striped bathing outfit is Butterick pattern 9219 as shown in Delineator, June 1917, p. 64.

A sleeveless version of Butterick 9219. “You can have it show jaunty bloomers underneath or have it cover them…. The bloomers are sewed to an underbody so there is no danger of accidents.”

Butterick 9291 pictured in Delineator, July 1917, p. 53.

Another version of Butterick 9219, July 1917. She wears black stockings and bathing shoes; the “unusual and becoming cap” was included.

Other views of Butterick 9219.

This view of Butterick 9219 shows the yoked bloomers attached to an underbody.

Various wool or silk fabrics were suggested. Although serge and silk poplin are mentioned, cotton is not, with the exception of “brilliantine,” a wool-and-cotton or mohair-and-cotton blend.

Butterick 9237, a “bathing-suit” from 1917

Butterick bathing suit pattern 9237, June 1917. This is the shorter version. Note her rolled stockings.

Butterick 9237 shown with a striped skirt long enough to cover the bloomers, Delineator, June 1917, p. 64.

Coin-sized dots and white lattice on the sleeves are unique details for this blue and white version of No. 9237. Butterick pattern from 1917. Cap pattern included.

Alternate views of Butterick 9237.

Girls’ bathing costume,  Butterick 9240, from 1917.

This bathing suit pattern, Butterick 9240, was available for girls 2 to 14 years old. Delineator, June 1917.

“If the child is very small the gathered or plaited straight skirt need not be worn.”

Butterick 9240 illustrated on an older girl. Delineator, July, 1917, p. 53.

Bathing suit for girls 2 to 14, Butterick 9240, from 1917.

Description of Butterick child’s bathing suit No. 9240, July 1917. Delineator.

How anyone, much less a child, was expected to swim in one of these bathing suits once it was wet and waterlogged is a mystery to me. The pockets must have been great for collecting seashells — or filling with sand and water and dragging you down ….

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