This is a follow-up to a post that showed this image without any explanation. In 1914, Delineator was a large format magazine, much bigger than the average computer screen (or modern magazine) so I will have to chop up that image to show details of these outfits. The opposite page gave more information about each one, so I also have line drawings and alternate views to share.
Important fact: Not one of these outfits is a dress. They are all separate tops and skirts.
It’s not always easy to figure out whether you’re looking at a dress, a skirt and “waist” [i.e., blouse,] or a “coat” and skirt in these fashions from 1914. Luckily, the old Delineator supplied plenty of alternate views.
Sometimes an alternate view looks so different from the major illustration that only the pattern number shows that they are variations of the same garment. I’ll start by dissecting the gold-colored suit at top left.
First surprise: the jacket only reaches the waist.
The skirt includes a long tunic top.
The height of these hats makes it hard to do justice to the entire outfit at once.
These skirts must have been very warm, if every layer was lined. The drawing of the waistline on all these skirts shows how the corset of 1914 distorted a woman’s body; the boned front of the corset forced her abdominal area into a straight line, pushing the hips and pelvis back — which caused a sway-backed effect. The waistline of the skirt is therefore higher in the back than in the front — one reason why vintage blouses from the WW I era don’t stay tucked into your skirt in back if you aren’t wearing a 1914 corset!
Incidentally, George Bernard Shaw’s play Pygmalion — which is the basis for My Fair Lady — opened in London in 1914. For the benefit of costumers, I’m sharing a lot of construction information.
This skirt is elaborately draped.
A skirt like this required a shorter interior lining made of sturdy fabric, which supported the weight of the “bustle.”
The surplice-style waist/blouse was also made with a “French lining” to support and control the fullness. I’ll write about French linings some other day.
Here are written descriptions of the other three outfits (I’ll refer to them by color.)
This skirt also had a “short four piece foundation skirt.”
I don’t think “regulation” had any legal status — it was just the usual no-visible-waistband technique for making skirts.
I can’t resist ending with closer views of the hats:
Whew! long post….