Tag Archives: 1920s coat

A Paris Wardrobe for Summer 1928 from Butterick Forecast Patterns

This final (?) set of eight patterns, identifiable as “Forecast” patterns only because of their peculiar numbering, were illustrated by L. Frerrier, like previous Forecast patterns. Crowded on to one page this time, each pattern was shown in equal-sized front and back views. Nothing in the text explains why they cost a dollar each — twice as much as any other Butterick patterns.

Forecast patterns from Butterick, June 1928. Delineator, p. 42. L. Frerrier, illustrator.

Forecast Wardrobe patterns 12 A through 12 H from Butterick, June 1928. Delineator, p. 42. L. Frerrier, illustrator.

The bathing suit, 12 A, is shown with a variation of caped coat 12 E.

Forecast wardrobe patterns 12 A bathing suitand 12 E coat. Butterick, June 1928.

Forecast wardrobe patterns 12 A bathing suit and 12 E coat. Butterick, Delineator, June 1928.

450 1928 june p 42 paris wardrobe 12A text500 1928 june p 42 paris wardrobe 12E coat450 1928 june p 42 paris wardrobe 12E text

Frerrier has cleverly illustrated the back/alternate views made up in different fabrics from the front views, turning eight patterns into sixteen illustrations

Butterick Forecast Wardrobe pattern 12 B, Delineator, June 1928.

Butterick Forecast Wardrobe pattern 12 B, Delineator, June 1928.

450 1928 june p 42 paris wardrobe 12B text

Butterick Foreccast Wardrobe pattern 12 C, Delineator, June 1928.

Butterick Forecast Wardrobe pattern 12 C, Delineator, June 1928.

450 1928 june p 42 paris wardrobe 12C text

Butterick Forecast Wardrobe pattern 12 D, Delineator, June 1928.

Butterick Forecast Wardrobe pattern 12 D, Delineator, June 1928.

450 1928 june p 42 paris wardrobe 12D text

Butterick Forecarst Wardrobe pattern 12 F, Delineator, June 1928.

Butterick Forecast Wardrobe pattern 12 F, Delineator, June 1928.

450 1928 june p 42 paris wardrobe 12 F text

Butterick Forecast Wardrobe pattern 12 G, Delineator, June, 1928.

Butterick Forecast Wardrobe pattern 12 G, Delineator, June, 1928.

450 1928 june p 42 paris wardrobe 12G text

The “new cord-narrow straps” on the slip (called spaghetti straps in the 1960s) — not to mention the depth of the V in back — would make it impossible to wear a 1920’s brassiere under this dress.

Butterick Forecast Wardrobe pattern 12 H, Delineator, June 1928.

Butterick Forecast Wardrobe pattern 12 H, Delineator, June 1928.

450 1928 june p 42 paris wardrobe 12H textThe coat’s front cape, which wraps around over the shoulder, must have been a nightmare for the coat-check girl who had to put it on a hanger. It was customary for dresses with side panels or irregular hems to hang out under the evening wrap, as they do here — a look which in other eras would have been dismissed as “draggle tailed.”

None of these patterns was available in sizes bigger than a 40 inch bust measurement.

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Filed under 1920s, Bathing Suits, Dating Butterick Patterns, Sportswear, Swimsuits, Vintage patterns

Caught in the Twenties

Cover of Delineator magazine, September 1928. Illustration by Helen Dryden.

Cover of Delineator magazine, September 1928. Illustration by Helen Dryden.

Caught isn’t the right word; “enraptured” might be more accurate. I finally have a chance to visit bound volumes from the mid-nineteen twenties and photograph them, and I wish I could post everything I find. By 1928, Delineator magazine is filled with the styles we think of as “the twenties.”

Butterick patterns for January 1928. Delineator, p. 33.

Butterick patterns for January 1928. Delineator, p. 33. Composite from original illustration. I’ll return to these patterns in a later post. Love that coat!

There’s a strong Art Deco influence in the geometry of day dresses, and there’s drama, beading, and a flutter of chiffon in the evening.

A beaded gown from Paquin, Frbruary 1928, and a jewel studded gown from Lanvin, March 1928. Delineator magazine.

A gown from Paquin, February 1928, and a jewel-studded evening gown from Lanvin, March 1928. Delineator magazine.

For a knock-out evening coat by Lanvin, circa 1927, click here.

Perhaps it’s because I’m a sixties’ girl that the proportions of 1928 look “right” to me.  Not that I would ever want to wear a straight-torso-with-hip-belt dress, but the knee-length skirt balances them better than the skirt lengths of 1925 or 1926.

Print fabrics, Butterick patterns; Delineator, August 1928.

Print fabrics, Butterick patterns; Delineator, August 1928.

With my library time machine, I’m currently “visiting” 1926, 1927 and 1928.  I try to bounce around from decade to decade in this blog, but getting out of the late Twenties is going to be hard.

Joyful geometry: Butterick patterns in Delineator, February 1928.

Joyful geometry: Butterick patterns in Delineator, February 1928. I love the way the angle of the trim on the bodice is echoed by the angle of the pleated skirt panel. Interesting that the button is located at the natural waist….

I’ve already written about the fashion shift of the mid-twenties (click here.) Just to review, fashions for young women (15 to 20) were slightly shorter than those for mature women in 1925 and 1926.

Patterns for adult women, Delineator, December 1925.

Patterns for adult women, Delineator, December 1925.

Patterns for girls 15 to 20, and small women. Delineator, December 1925.

Patterns for girls 15 to 20, and small women. Delineator, December 1925.

Left, teens 15 to 20; right, adult women. composite based on Delineator, December 1925.

Left, teens 15 to 20; right, adult women. Composite based on Delineator ilustrations, December 1925.

Because teens and adults were drawn differently, it’s hard to get an exact comparison, but the hems on the adult women seem to be a couple of inches farther below the knee. When I compare the two dresses in the center, the orange one on the right looks dowdy to my modern eyes. All four figures are drawn with impossibly long torsos.

Here are some Butterick fashions from 1926:

Pictured are two little girls, and four girls aged "8 to 15 years." Their dresses are quite short, but look like young adult fashions of a couple years later. Delineator, February 1926.

Pictured are two little girls, and four girls aged “8 to 15 years.” Their dresses are quite short, but look like young adult fashions of a year later. Delineator, February 1926.

The proportions on these knee length skirts look “right” to me, but they are not dresses for young women; they are for girls under 15. I especially like that plum colored outfit on the far left.

Two adult women and two girls 8 to 16 years. Delineator, February 1926.

Two adult women flanked by two girls aged 8 to 16 years. Delineator, February 1926.

These are Butterick patterns from 1927:

Women's fashions with straight silhouettes. Butterick 1329 and 1317, Delineator, March 1927.

Women’s fashions with straight silhouettes. Butterick Nos. 1329 and 1317, Delineator, March 1927. I love the use of graded values of the same color, and those repeated geometric, Art Deco jogs on the dress at left — with matching cuffs. Skirts end just below the kneecap.

These couture designs for evening, 1927, use metallic fabrics and beading, and look quintessentially “Twenties.” It would be hard to mistake the dress on the left for any other era.

Left, a fringed and beaded evening gown by Paquin; right a straight metallic dress with ruffles, by Jeanne Carette. Delineator, January 1927, p. 16.

Left, a salmon pink-and-silver fringed and beaded evening gown by Paquin; right, a straight gold metallic cloth dress with finely pleated ruffles, by Yvonne Carette. Delineator, January 1927, p. 16.

Two evening dresses by Chanel. Left, a metallic brocade; right, a dress completely covered with black beads. Delineator, January 1927.

Two evening dresses by Chanel. Left, “deep orange” lace; right, a dress completely covered with black beads. Delineator, January 1927.

1927 jan p 16 designer Chane ltext black beaded J Desvignes illus

Detail of paillette beading on black Chanel dress; Delineator, January 1927.

Detail of paillette beading on black Chanel dress; Delineator, January 1927.  Apparently the beads change direction, giving a checkerboard effect.

If you love the Twenties, it’s hard not to think, “Now, we’re getting somewhere!”

The Metropolitan Museum has a beaded dress from 1926 attributed to Chanel; click here — and don’t forget to click on “Additional Images” for a a close-up of the beading and spangles.

A few images from 1928:

Two women's dresses from October 1928. Butterick 2243 and 2267.

Two women’s dresses from October 1928. Butterick patterns 2243 and 2267. Note the zigzag formed by the skirt panels at right. It’s hard to see, but the band on the left dress is two colors, or two shades of the same color.

This young lady appeared in an ad for Fleischmann’s yeast, which, she said, restored her health. The fabric of her glittering dress is quite striking:

Fleischmann's Yeast ad, Delineator, May 1928.

Fleischmann’s Yeast ad, Delineator, May 1928.

Butterick patterns for women from teens to bust 44". The coat came in sizes 46 and 48, too. Delineator, November 1928. Hems area already on their way down.

Butterick patterns for misses and women (from teens to bust 44″.) The coat came in sizes 46 and 48, too. Delineator, November 1928. Hems are already on their way down.

For more about 1928 “Hems Going Down,” click here. This cartoon dates from 1929.

 

 

 

 

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Filed under 1920s, Children's Vintage styles, Hosiery, Vintage Couture Designs, Vintage patterns, vintage photographs, Vintage Styles in Larger Sizes

Musings: Airplanes and Fashion

Collage of Women Taking Flying Lessons. Some photos are dated 1919. Courtesy of RememberedSummers.

Collage of Women Taking Flying Lessons. One photo is dated 1919. Courtesy of RememberedSummers.

A fellow costumer recommended a truly remarkable website — Cliff Muskiet’s Stewardess/Flight Attendant Uniform Collection — so in addition to providing a link to it, I thought I’d share some vintage flying-related photos from RememberedSummers, and some links to “helmet” cloche hats, which some people have associated with WW I flying helmets.

Cliff Muskiet’s Flight Attendant Uniform Site, Uniformfreak.com

First, Cliff Muskiet has put together a remarkable source for any one who needs to find out what was being worn by flight attendants at a given airline in many periods. Click here for Cliff Muskiet’s Home page. His uniformfreak website is a treasure house of good photographs of his remarkable collection, which is remarkably well organized, too. Click here to see his alphabetical list of airlines whose uniforms he has photographed. They are organized by date within each airline, although there’s no search availability.  Here are a few of my favorites.  Delta Airlines — very chic in 1970- 73. Braniff International designs by Pucci (scroll down through several years.) Air France had special uniforms for Concorde and for flights to Tahiti. British Caledonian featured plaids; Tyrolean Airways really went for an ethnic flavor. There are over 1400 uniforms on this site, with new ones being added. Brilliant job, Mr. Muskiet!

For more about Emilio Pucci’s designs for Braniff Airlines, click here.

Dressed for Flying, circa 1920.

Next, these photos of two young California women taking flying lessons (or at least, wearing leather flying jackets and helmet and goggles) are dated 1919 and 1921.

Two young women posing with airplane propellers, dated 1919, may be later. Photo copyright RememberedSummers.

Two young women with wooden airplane propellers, posing in their normal clothing; dated 1919, may be later. Photo copyright RememberedSummers.

"Dot" in flying gear, about 1920. Photo copyright RememberedSummers.

“Dot” in flying gear, about 1920. Photo copyright RememberedSummers.

Isobel in flying gear, about 1920. Photo copyright RememberedSummers.

Isobel in flying gear, about 1920. Photo copyright RememberedSummers.

The plane is an open-cockpit biplane, with cloth covered wings.

Photo copyright RememberedSummers.

Young woman and biplane. Photo copyright RememberedSummers.

Helmet Hats, 1920’s

Fascination Street Vintage has just posted a group of marvelous hat photos, including this picture of young actress Loretta Young wearing a cloche trimmed with airplane pins.

Click here for movie star Gloria Swanson in a tightly fitted helmet cloche that is covered with embroidery.

Click here for Fascination Street’s entire 1920’s hat post.

 

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Filed under 1900s to 1920s, 1920s, 1920s-1930s, Coats, Hats, Uniforms and Work Clothes, vintage photographs

Ensembles for April, 1929

Spring jacket and coat ensembles; Butterick patterns from The Delineator magazine, April 1929.

Spring jacket and coat ensembles; Butterick patterns from The Delineator magazine, p. 35, April 1929.

There is a time machine in San Francisco. Every year, thanks to the SF Silent Film Festival, I enter the Castro Theatre, a 1400 seat “movie palace” built in 1922,  and spend several days watching movies from the 1920’s, (and earlier) in the building where they originally played. Unlike so many of its peers, the Castro has not been divided into tiny screening rooms with the seats not-quite-facing the screen. Here, silent movies are shown on a full-sized, correctly proportioned screen, not chopped and cropped, letterboxed, or panned-and-scanned to fit a TV screen or modern movie proportions. They are accompanied by live music, just as they were in the 1920s. I enjoy my time travel with thousands of like-minded people, a number of whom dress in vintage or replica 1920’s clothes. In honor of The SF Silent Film Society, (you can scroll through their archives here) I’m sharing some suit, coat, dress and jacket ensembles ideal for an afternoon matinee in 1929.

Ensembles for Spring, 1929. The Delineator, page 34.

Ensembles for Spring, 1929. The Delineator, page 34.

Delineator, April 1929, p. 34.

The Delineator, April 1929, p. 34.

Left, blouse #2568, skirt # 2208, jacket # 2546. Center,  blouse #2565 with suit #2536. Right, frock and jacket ensemble # 2539. Butterick patterns, April 1929.

Left, blouse #2568, skirt # 2208, jacket # 2546. Center, blouse #2565 with suit #2536. Right, frock and jacket ensemble # 2539. Butterick patterns, April 1929.

The skirt on the left is worn over its blouse; in the center, a blouse is worn over a skirt. The bands of trim on #2539’s dress form a triangular shape. This sleeveless dress has the new, square armholes.

Alternate views of blouse 2568 & skirt 2208, blouse 2565 & suit 2536, and dress 2539.

Alternate views of blouse #2568 & skirt #2208, blouse #2565 & suit #2536, and dress  #2539. Butterick patterns from 1929.

Left, frock #2535 with coat #2545. Center, frock #2271 with coat #2495. Right, coat # 2545 again with frock #2539. Butterick patterns from 1929.

Left, frock #2535 with coat #2545. Center, frock #2271 with coat #2495. Right, coat # 2545 again with frock #2539. Butterick patterns from 1929.

“A high color with a white or off-white blouse, or a light suit with a dark blouse — this is the new mode for ensembles.”

Coat # 2545 is shown at left in seven-eighths length over a two-piece dress which uses a border print for its very long top. At right, the same coat (#2545) is shown in jacket length. Both have standing collars. The coat in the middle, with “a youthfully wide collar,” reminds me of one I owned in the 1980’s, made of reversible material.

Back views coat 2545, coat 2493, and frock 2529 with coat 2545 as jacket.

Alternate views of coat #2545, coat #2495, and dress #2529 with coat #2545 as its jacket.

 

Ensemble frocks, page 35, The Delineator, April 1929.

Ensemble frocks, page 35, The Delineator, April 1929. “The . . . blouse is often sleeveless.”

Jacket #2546 and frock #2553. Butterick, April 1929.

Jacket #2546 and frock (dress)  #2553. Butterick, April 1929.

This jacket is made of light-weight [“sheer”] checked wool, with a scarf collar; it is trimmed with bias-cut bands of the same checked wool, which is also used as a trim on the wool jersey bodice of the dress (#2553). More challenging is the use of the bias check on the pleated skirt. It is drawn as if panels cut on the bias were inserted between the straight-grain pleats of the skirt. (I’d be more inclined to cut the skirt entirely on straight grain and apply the bias bands to the stitched-in pleats — I think.)

Back views of jacket #2546 and dress #2553. Butterick, 1929.

Back views of jacket #2546 and dress #2553. Butterick, 1929.

On the jacket “the bands and the scarf collar may be omitted.” In fact, this is the same jacket shown earlier, when it was made from printed fabric and worn with a matching print skirt and a ruffled blouse.

Two versions of Jacket pattern #2546

Two versions of Jacket pattern #2546

This high-contrast dress and jacket ensemble looks great in black (or navy?) and white, but Butterick suggested a different color combination.

Jacket #2530 worn with Frock #2551. Butterick, 1929.

Jacket #2530 worn with Frock #2551. Butterick, 1929.

“This cardigan (#2530) is of a new length, it has the new raglan sleeve, and it is linked to its frock (#2551) by bands of the crepe that makes the blouse. The cuffs and pocket are finished with the same bands. It would be smart in a bordered material, jersey, or printed or plain crepe de Chine.” The chic dress “for the first outdoor sports events of spring” is trimmed with the same material used for its skirt and jacket. According to Butterick’s Delineator magazine,  “Chartreuse with blue or brown is very smart for this frock.” [For more 1920’s color combinations, see “A Lament for Bound Periodicals” or “1920’s Orange and Black: Not Just for Halloween.”]

Alternate views of #2530 and #2551.

Alternate views of #2530 and #2551. This jacket is longer than the others.

I confess, I’m very impressed with Frock #2559 and its geometric but asymmetrical design:

Butterick dress pattern #2559 and coat pattern #2547. 1929.

Butterick dress pattern #2559 and coat pattern #2547. 1929.

I almost think you could wear this frock  today (adjusted to normal body proportions) without  people realizing it was a vintage dress. It has square armholes, as well as square pockets. 1929 april p 35 square armhole dress reefer coat

Alternate views, dress #2559 and reefer coat #2547. Butterick, 1929.

Alternate views, dress #2559 and reefer coat #2547, shown full length. Butterick, 1929.

The “Reefer Top-Coat,” #2547, “is a fashion classic — double-breasted with a belt and vent in the back — but it is in the new seven-eighths length. In navy or white cheviot with brass buttons, it becomes the nautical reefer that is worn aboard ship by the smart yachtswoman. At Palm Beach it was worn for sports.” — The Delineator.

Speaking of normal proportions:  on all the dresses that are not covered by jackets, there are two shallow bust darts on each side.

Bust darts, April 1929.

Bust darts, April 1929.

Their location is rather low by modern standards, perhaps because the torso is very elongated in these illustrations.

All of these 1929 Butterick patterns were available in bust sizes from 32″ to 44″ (with a maximum 47 1/2″ hip measurement.)

Also worth noting:  most of these cloche hats for Spring of 1929 have very little brim in front — if any.

Cloche hats for April, 1929. The Delineator, pp. 34-35.

Cloche hats for April, 1929. The Delineator, pp. 34-35.

More about the Time Machine (May-June 2015)

This year, the Silent Film Festival in San Francisco runs from Friday, May 28, through Monday, June 1. Buying tickets in advance is a very good idea — for many movies, all 1400 seats sell out. It’s possible to see four or five different films in a day. This year, the time machine will go back 99 years to 1916, showing William Gillette as Sherlock Holmes, plus the silent “Ben-Hur”(1925)  and “All Quiet on the Western Front” (1930), Greta Garbo (1926), Harold Lloyd (1928),  Colleen Moore (1929), and silent films from Germany, France, Norway, China, the U.K., and of course, the U.S.

Also, the “High Style” exhibition from the Brooklyn Museum Collection at the Metropolitan Museum will be in San Francisco until mid-July. What a great summer!

 

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Filed under 1920s, 1920s-1930s, Exhibitions & Museums, Hats, Musings, Vintage patterns, Vintage Styles in Larger Sizes

Rapid Change in 1920s Fashion: Women, 1924 to 1925

Women's dresses: December 1924 and December 1925

Women’s dresses: December 1924 and December 1925

1925 was  a year of rapid change in women’s fashions. In addition to rising hemlines, this year marked the beginning of the end for tubular dresses worn over bust-flattening undergarments, and the introduction of a more feminine silhouette. To give an idea of how quickly styles changed, I’ll show some images from Delineator magazine that appeared just one year apart — some from the end of 1924, and some from the end of 1925.

Women’s Coats:  1924 and 1925

These two coats — pictured one month apart — were the latest styles for the end of 1924.

Left: Butterick coat pattern, Dec. 1924. Right: Lanvin coat, Jan. 1925.

Left: Butterick coat pattern, Dec. 1924. Right: Lanvin coat, Jan. 1925.

“Lanvin’s coat of beige raily kasha flares into godets at the lower part and is trimmed with a very small collar and very large cuffs of antelope and leopard skin. With it is a muff.”

Here are three coats from December 1925, Just Twelve Months Later:

Butterick coat patterns from December, 1925.

Butterick coat patterns from December, 1925.

These three coats look modern (or moderne) — the way we usually picture the 1920s. In one year, subtle changes in fit and proportion have severed the connection with the long, tubular fashions that began the decade.

December 1924 and December 1925 Fashions Illustrated in Color

Here is a closer look at some women’s dresses from December 1924:

Women's Dresses, December 1924, from Butterick's Delineator magazine.

Women’s Dresses, December 1924, from Butterick’s Delineator magazine.

These 1924 tunic dresses are ‘tubular’, falling straight from the shoulders over a low, flattened bust (especially noticeable at far left.) Tunic styles often show indecision about skirt length: there is a short hem and a long hem.

Women's Dresses, December 1925, from Butterick's Delineator magazine.

Women’s Dresses, December 1925, from Butterick’s Delineator magazine.

Twelve months later, the difference in hem length is not the only big change; while the tunic dresses of 1924 got narrower at the bottom, these dresses have some flare from the waist or hip to the hems. The real innovation can be seen in the red gown; it is a new “princess line” dress. The vertical seams allow it to be shaped to the body, curving out slightly over the bust and curving in slightly at the loosely fitted waist. There would be little point in flattening your chest to wear such a dress, although some older women clung to their familiar undergarments.

Evening Dresses and Wraps, 1924 and 1925

Evening Wrap Coat and Evening Dress, January 1924.

Evening Wrap Coat and Evening Dress, January 1924.

Later in the same year, 1924:

Evening Wrap Coat and Evening Dresses, December 1924.

Evening Wrap Coat and Evening Dresses, December 1924.

There is more hip interest, and a surplice (diagonally closing) gown. These are minor changes compared to the drastically different look of December, 1925:

Evening Wrap Coat and Evening Dresses, December, 1925.

Evening Wrap Coat and Evening Dresses, December, 1925.

The loosely belted columnar dress (January 1924) has been replaced with dresses that have distinct bodices and skirts, a strong accent at the hips, and geometric, Art Deco details. The effect is crisper and shorter. All the models now wear the mannish, ‘shingled’ hair style.

Surplice Closing Dress (right) from December 1925.

Surplice Closing Dress (right) from December 1925.

Surplice gown, Dec. 1924.

Surplice gown, Dec. 1924.

In one year, the surplice dress has gone from baggy to streamlined.

Coming soon:  Dresses for teens and young women, 1924 and 1925.

 

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Filed under 1920s, Vintage patterns

Striped Coats for Women, 1924

Striped coats were apparently quite stylish in the spring of 1924. Butterick pattern #5181 suggested a boldly striped fabric for a woman’s coat, illustrated in misses’ sizes, and Ford Motors featured an equally bold striped coat in its March advertisement in The Delineator magazine.

Ad for Ford Tudor Sedan, Delineator, March 1924

Ad for Ford Tudor Sedan, Delineator, March 1924

A 1920s Striped Coat Pattern for Misses and Ladies

Butterick’s Delineator magazine, May 1924, pattern # 5181

Butterick’s Delineator magazine, May 1924, pattern # 5181

“5181 – At this season the débutante is in need of this type of coat with a straight lower part joined to a long body with a choice of inside pocket. It may be a longer length if one prefers a full-length coat. Use striped coatings, soft twills, rep cloth, heavy silk crêpe, satin. Lower edge in longer length 46 inches.

17 years or 34 bust requires 2 5/8 yards 54-inch striped wool. The coat is for misses 16 to 18 years or 33 to 35 bust, also Ladies.”

Striped Coat in a Ford Tudor Sedan Ad, 1924

Ad for Ford Tudor Sedan, Delineator, March 1924

Ad for Ford Tudor Sedan, Delineator, March 1924

Ford was late to enter the closed car market, but when it did, a whole series of advertisements aimed at women appeared in the women’s magazines. These ads always showed a woman driver, taking her children to school, shopping, or, here, giving her friend a ride on a rainy day.1924 march p 53 ford tudor 500 dpi striped coat woman driver striped coat

1924 march p 53 ford tudor text striped coat

“Not even a chilly all-day rain need upset the plans of the woman who has a Ford closed car at her disposal. Knowing it to be reliable and comfortable in all weathers, she goes out whenever inclination suggests or duty dictates

“The car is so easy to drive that it constantly suggests thoughtful services to her friends. She can call for them without effort and share pleasantly their companionship.

“All remark upon the graceful outward appearance of her car, its convenient and attractive interior, and its cosy comfort. And she prides herself upon having obtained so desirable a car for so low a price.”

The Tudor Sedan pictured cost $590; the Fordor Sedan cost $685, and a Coupe, $525.

I love the woman’s embroidered hatband. Incidentally, notice how long hems were at the beginning of 1924. The miss who opted for the  7/8 length shown  (#5181) would be wearing it as a full-length coat in 1925.

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Filed under 1920s, Old Advertisements & Popular Culture, Vintage patterns

Introducing the Winter Mode, by Madeleine Vionnet, 1927

Introducing the Winter Mode, an Article by Madeleine Vionnet1927 nov p 27 Vionnet 500 dpi writes article 1749 1653

This brief article in The Delineator, published in November, 1927, page 27, is ostensibly written by the couturier Madeleine Vionnet. It may actually be the report of a translated interview; The Delineator also published an article “by Captain Molyneux” in the same series, but I have not yet photographed it. The curvature of the page of the bound volume makes the pattern descriptions at the sides hard to read, so I will transcribe them; they are not written by Vionnet, but are editorial comments on the winter modes and are illustrated by two Butterick patterns, not necessarily Vionnet designs. (The Delineator was published by the Butterick Publishing Company.)  You can read the article — the center column — exactly as printed:

Vionnet Headline and Introduction1927 nov p 27 Vionnet title“Madeleine Vionnet, the famous Paris dressmaker was the first designer to make the unlined frock, discarding the hooks and bones of the tight lining. The famous Vionnet V’s of her modernistic cut made intricate line immensely more important than obvious trimming. Vionnet’s versions of flares and fagoting and bias cuts imbue the basic principles of the new mode with a supreme distinction, an ageless quality, the results of Mme. Vionnet’s own philosophy of dress.”

Vionnet’s Article from 1927

1927 nov p 27 adj Vionnet top

1927 nov p 27 adj Vionnet ctr top1927 nov p 27 adj Vionnet ctr btm1927 nov p 27 adj Vionnet btmElegant Evening Dress, Winter 1927

Butterick dress pattern # 1749 and Evening Coat pattern # 1653, November 1927, Delineator

Butterick dress pattern # 1749 and Evening Coat pattern # 1653, November 1927, Delineator, page 27

Under the dress on the left, the text says,

1749 dress alone

” 1749 – Concerning the evening mode there is no supposition for all its ways are well established. It is a fashion of supreme elegance, of great formality and dignity. Is very feminine in appearance, brilliantly conceived and brilliantly executed. In general the smart evening frock is both long and short due to an erratic hemline which is high in some places and low in others, jagged with points of drapery or elliptical as in the bouffant dresses where the longer line rounds down in back. The decolletage of the season is the low cut oval. This is new and flattering but V and square lines are continued and the latter is particularly distinguished when held by jewelled shoulder straps. Jewels are, in fact, very much a part of all evening dress. White frocks and black frocks depend on them for relief, and not only are there necklaces, bracelets and belt and shoulder touches, but dresses area embroidered with jewels, notably in necklace lines. There is much drapery in the mode, mostly with a left-side tendency, and skirts flare, some of them in most original ways.

“The front flare of the frock above (Design 1749) rises diagonally in a scalloped outline and a wing of drapery breaks the hem. For size 36, 3 1/8 yards 35-inch all-over lace. Designed for sizes 32 to 35 (15 to 18 years) and 36 to 44.”

Evening Wraps: White, Black, and Pastel1653 coat alone

Under the coat on the right, the text says,”1653 – As to the evening wrap, it is very smart to match it to the frock, but if the wrap matches one of the frocks of the wardrobe and harmonizes with the others, that is quite in good style and very much less extravagant as the means one wrap instead of a series of them. White is, and has been for two seasons, the first color for evening, its continued vogue explained by the fact that a white frock and sun-bronzed skin is an intriguing combination.  All black, relieved by rhinestones on the frock and by ermine on the wrap, follows white in the scale of evening colors, after which come pastel shades, used so much by Vionnet.  Gray and yellow are sometimes seen and are interesting because they are new.  The evening frock this season is made of transparent velvet, metallic fabrics, Georgette, chiffon, lace, flowered or gauze lamé or tulle – tulle with a gold dot is new. The evening wrap may be a coat or cape of fur, velvet, metallic fabric or brocade. The little evening jackets that are so useful in chilly rooms, or as a means of turning an evening gown into one for afternoon, are of the fabric of the frock.

“The coat illustrated (Design 1653) has a flare across the front with the ripples thrown to the left. For size 36, 4 yards of 39-inch velvet and 2/3 yard of 9-inch fur for binding are required. Designed for sizes 32 to 35 (15 to 18 years) and 36 to 44 [bust measurement.]”

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Was Vionnet the First Couturier to Use a Zipper? Spring 1929

Vionnet Spring 1929, Sketched for Delineator magazine, March 1929, page 27

Vionnet for Spring 1929, Sketched for Delineator magazine, March 1929, page 27

Delineator Magazine Reports on Paris Fashions, March 1929

The Butterick Publishing Company, which published Butterick patterns and also the Delineator magazine, maintained an office in Paris for the purpose of reporting on couture and other Paris fashions.

“…Butterick keeps a staff of experts in Paris all the time. Wherever new modes are launched there is a Butterick expert noting each successful model.  Quickly that expert cables the news. Sketches, details follow by the fastest steamers. Immediately patterns are made for each of the successful new modes.” — Butterick Advertisement in Delineator, August 1924, p. 67.

Couture for Spring, 1929,  Article in Delineator, March 1929, page 27.

Paris Fashions for Spring, 1929, Article in Delineator, March 1929, page 27.

The top left sketches show designs by Cheruit and Vionnet. Designs by London Trades and Mary Nowitsky at right. The evening gown is by Louiseboulanger.

Dress and jacket by Cheruit; Blouse, skirt, and coat ensemble by Vionnet, Spring 1929

Dress and jacket by Cheruit; Blouse, skirt, and coat ensemble by Vionnet, Spring 1929

The sketch and caption for the peach satin blouse by Vionnet show that it closes with a slide fastener – i.e., a zipper.

Delineator, March 1929, page 27.

Delineator, March 1929, page 27.

Butterick Pattern #2526: Culotte Blouse with Zipper; Wrap Skirt

Left, design by Vionnet; Right, Butterick pattern #2526

Left, design by Vionnet; Right, Butterick pattern #2526

When I turned to page 28 of the same issue, I found Butterick patterns which are nearly line-for-line copies of the Vionnet blouse, wrap skirt, and coat ensemble.

Butterick culotte blouse & skirt pattern #2526 on left, Coat pattern #2495 on right.

Butterick culotte blouse & skirt pattern #2526 on left, Coat pattern #2495 on right.

Back views, Butterick patterns #2526 and #2495

Back views, Butterick patterns #2526 and #2495

The name of Madeleine Vionnet does not appear on this page, but the idea for the culotte blouse is typical of her ingenuity. The problem of wearing a 1920s wrap skirt which rides far below the natural waistline (the skirt over a satin blouse would have a tendency to migrate around the body as you walk), and the problem of keeping the blouse tucked in when you sit and stand, or raise your arms, are both neatly solved by the “culotte blouse,” known much later in the 20th century as a bodysuit, as popularized by Donna Karan. The 1929 blouse is made-in-one with panties, like a camisole & panties underwear “combination” or “teddies”, also called “cami-knickers;” the crotch keeps the blouse from riding up and twisting around.

Here are the pattern descriptions:

Pattern descriptions for Butterick #2526 and # 2495.

Pattern descriptions for Butterick #2526 and # 2495.

1929 march p 28 vionnet zipper pattern blousePhoto Left of pattern #2526 “The Elegant Version of the Culotte”: This is Paris’ newest idea on the ensemble frock. The blouse is not only a blouse but a step-in, which gives it these advantages; it stays in place and it eliminates a piece of lingerie. It closes with a slide-fastener under the tied neck-line. The skirt is a graceful one-piece tie-around, holding the hips snugly. Designed for sizes 32 to 42. [bust measure]
1929 march p 28 coat pattern # 2495

Photo right of pattern #2495 “The Ensemble with Casual Coat”: The coat-and-frock ensemble has reached new peaks in the mode. There is no smarter example of it than this with a seven-eighths length coat, which hangs casually open, has moderately wide sleeves and a shawl collar, and the frock described above….Designed for 32 to 35 (15 to 18 years); 36 to 44. [bust measure]

The Vionnet culotte blouse was described on page 27 as ending “in brief trousers with the new sliding fasteners at each side.” The Butterick culotte blouse pattern described on page 28 only mentions a slide fastener down the front. It’s difficult to say from the tiny back illustration (unfortunately on the curve of a bound volume) whether we are seeing a side seam or a side zipper. [Using the Ladies’ Room while wearing a bodysuit was always awkward, but I’m not sure side zippers would help much.]

I have not searched the library for other reviews of Vionnet’s collection for Spring of 1929, but it certainly deserves more investigation.

If you search for “Schiaparelli zipper” you may find sites claiming that she was the first couturier to use zippers (then called ‘slide fasteners.’)  She was among the first; and she pioneered (and even encouraged the development of) colored plastic zippers in women’s clothing.  But, unless Butterick invented the designs sketched in its March 1929 issue of Delineator, Vionnet deserves the credit for the first zipper used in couture.

#2526 is not the first Butterick dress pattern to use zippers; # 2365 appeared in December of 1928, and no designer was mentioned.

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Paris Couturier Designs, December 1926

The latest styles from Paris, December 1926, as described in The Delineator magazine

The latest styles from Paris, December 1926, as described in The Delineator magazine

This is a two-page spread on the latest Paris Fashions of 1926. Coverage of the Couture collections was a regular feature in The Delineator in the 1920s; Butterick Publishing maintained an office in Paris, and used several sketch artists, including Soulié, who also worked for L’Art et la Mode. These illustrations are signed Lages. The designers featured in the article are Paul Poiret, Lucien Lelong, Louiseboulanger, and Molyneux. [Louiseboulanger is always written as one word.] The gowns pictured on these two pages could be purchased in New York: “Models on these two pages imported by Mary Walls.” Mary Walls’ shop was located in the Waldorf-Astoria Hotel.

Page 40: “French Designs for the American Season”

Evening frock by Poiret, 1926

Evening frock by Poiret, 1926

Left:  “An evening frock from Paul Poiret is an uneven swirl of black velvet below a sequinned bodice on which multicolored flowers are worked in brilliant shades of rose and blue and green. Ends of Chartreuse velvet fall from the bows at the hip and the hem is faced with silver ribbon.  The Gothic outline of the décolletage is new and interesting.”

Hostess Gown by Lelong, 1926

Hostess Gown by Lelong, 1926

Right: “In a hostess gown designed by Lucien Lelong, arabesques of gold and silver trace a gorgeous pattern on the transparent tissue of the body.  The narrow skirt of black chiffon velvet opens over a panel of gold lamé, and gold and silver ribbon square the hanging sleeve and outline the deep V of the neck.  The Parisienne wears a gown of this type at home and for informal dinners.”

Dolman evening coat, Lelong, 1926

Dolman evening coat, Lelong, 1926

Left:  “Body and sleeve merge into one in the medieval cut of ‘Christmas’, an evening wrap of black chiffon velvet faced with white velvet and trimmed on the collar, sleeves and scarf with clipped white cony [rabbit.]  Furs, shaved or clipped to absolute flatness are new, velvet is smart, and black, in a somewhat florid season, remains the most distinguished of colors. From Lucien Lelong.”

Page 41: “Brilliant Frocks that match a Holiday Mood”

Some 1926 dresses had asymmetrical hems, longer on one side, or some trailing fabric that dipped below the normal hemline. The descriptions below show that some thought them a precursor of lower hemlines, but in fact. skirts got even shorter in the late 1920s, before descending to new lows, along with the stock market, after 1929.

Evening dress with a train at the side, Louiseboulanger, 1926

Evening dress with a train at the side, Louiseboulanger, 1926

Left:  “In trains many prophets see the re-entry of the long skirt and the exit of the knee-length fashion, while others find them only the charming contradiction that is so much more entertaining than the jewel of consistency. Louiseboulanger girdles the slender hips of a sheath frock of violet velvet bound with silver with a great bow of purple velvet placed over a train at the side.”

A sheath dress by Molyneaux, 1926

A sheath dress by Molyneaux, 1926

Above right:  “Captain Molyneux preserves in the heart of Paris the essentially English tradition of evening magnificence. His gowns are almost invariably sheaths of classical simplicity made splendid by fabric, lace, or beads. A frock of gold, green, and red brocade is absolutely untrimmed. A brocade scarf is thrown over the head is looped at the hip and trails behind in a long and graceful train.”

An evening dress with skirt covered with spangles, by Louiseboulanger, 1926

An evening dress with skirt covered with spangles, by Louiseboulanger, 1926

Right:   “Gold metallic ribbons place the waistline of a delightful frock from Louiseboulanger. The skirt is slightly gathered, slightly flared, and entirely covered with long spangles of black and gold which weight it and cause it to sway and undulate in motion. The former are used on the brief skirt, the latter suggest a hip yoke. Models on these two pages imported by Mary Walls.” [The Metropolitan Museum has a gown by Jeanne Lanvin with the label: “Mary Walls/Branch Shop/Waldorf-Astoria/South Lobby/East 45th St./New York”]

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