Tag Archives: 1920s couture

Less Familiar Designers of the 1920s, Number 1: Jenny (Part 1)

Evening dress by Jenny (Jeanne Adele Bernard Sacerdote) as sketched for Delineator, January 1926.

Some leading designers of the nineteen twenties have names that still sell fashion. Chanel comes to mind. Others were famous before and after the Twenties, like the House of Worth. Having a successful perfume brand helps: “Joy,” by Patou is still available. This is the first in a series about once-famous 1920s designers who are no longer well known.

Jenny (born Jeanne Adele Bernard, later Jenny Sacerdote) was ranked with those big names in the Twenties, but is not as well known today. I’ll be sharing a few of her designs, with links to help you find others.

These are merely a few of the designs by Jenny that were sketched for Delineator, *** and I do not have photos from every year between 1917 and 1930. Her ability to adjust to changes in fashion is admirable.  Born in 1868, she became famous in her fifties, showing 300 pieces in her collection of 1918.

Two sketches of couture by Jenny (Jenny Adele Bernard Sacerdote ) shows her ability to move with the times. Delineator, 1917 and 1927.

Left, a gown with a “tonneau” or “barrel” skirt — a fashion innovation from 1917. Right, a bare, narrow, fringed and beaded evening gown from 1927.

Jenny in 1917

Jenny was already being copied in 1915. The V&A collection has several color sketches of Jenny designs. London dressmaker Elizabeth Handley Seymour sketched hundreds of French couture gowns and coats which she was prepared to duplicate for her customers. She included this coat by Jenny, this evening gown, and this elegant afternoon or evening gown.

Jenny was such a “star” in 1917 that even her underwear collections were featured in “Reports from Paris.” She’s notable for her use of bright colors and print fabrics (!) in her lingerie:

This frothy undergarment was “sulphur-yellow ‘gaze’ trimmed with lace.” Delineator, August 1917.

On Jenny’s pink satin knickers, cream yellow lace is outlined with little roses or ‘cocardes’ [sic] of satin ribbon:

Doucet was a very well-established design house; Jenny is treated as his equal. Delineator, August 1917. Note the ribbon straps.

Print fabric lingerie by Jenny, 1917. Sketched for Delineator.

Jenny used “Flowered muslin in a quite indescribable design of white flowers outlined with pink on a blue background” for her pleated chemise, 1917. I remember how new and exciting print underwear was in the 1960s!

This pink chiffon Jenny dressing gown would have been called a “combing jacket” in an earlier era. (See “Peignoir.”)

A dressing gown by Jenny in Delineator, July 1917: “ruched pink chiffon over a pink satin skirt.”

Other Jenny designs from 1917 show that she had a sense of humor. She named this dress, amply trimmed with fur, “My hairy one.”

Jenny called this model “Mon Poilu” –“my hairy one.” Sketched for Delineator, December 1917.

However, her velvet skating dress seems a little impractical:

Jenny described this as a skating dress. Delineator sketch, December 1917. The tassels would be flying!

The coat below is actually sleeveless, worn over a matching gray silk dress. The geometric trim is stitching in green thread.

Short sleeveless coat over matching gray silk dress, green stitching. Jenny, sketched for Delineator, September 1917.

In June, 1917, Delineator showed a page full of couture designs which featured the new “barrel” silhouette. This was one from Jenny. Page 56.

Delineator claimed the barrel silhouette was chiefly the influence of Jeanne Paquin:

The barrel or tonneau skirt, sketched by Paquin’s own artist. Delineator, March 1917, p 56.

They look better to me when the model is sitting down.

Jenny created this dress for 1917. Delineator, March, p. 56. “Blue serge dress with eight box plaits over each shoulder. The square line at the neck appears in many of the new dresses.”

Left, a design by Jenny — in black satin under white chiffon embroidered with flowers — appears next to a design from the House of Worth. Delineator, March 1917.

I’m sure you could find many more Jenny designs: try searching for Delineator at Hathi Trust; select Journal, then choose a year, and search within the volumes you find. 1922 for example…

*** Note:  Butterick Publishing Company had offices in Paris, giving their pattern makers a chance to follow the very latest trends, which were reported on several times a year, often illustrated by Soulie. All the illustrations I’ll use in this “Less Familiar Designers” series come from Delineator‘s coverage. Caveat:  Pattern companies could sometimes buy couture items and copy them, but designers were not happy to be copied without any payment, so sketch artists attending fashion shows had to be quick and furtive, and sometimes had to work from memory. Read Fashion is Spinach, by Elizabeth Hawes for a sketcher’s real inside story.

Next: Jenny in the 1920s.

Tennis dress by Jenny, sketched for Delineator by Leslie Saalburg, February 1927.

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Filed under 1900s to 1920s, 1920s, evening and afternoon clothes, lingerie, Nightclothes and Robes, Panties knickers bloomers drawers step-ins, Resources for Costumers, Slips and Petticoats, Underthings, Underthings, Hosiery, Corsets, etc, Vintage Couture Designs, World War I

Paris Ideas, Butterick Pattern, 1926

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

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

Butterick dress pattern 6543 (right) shows Paris influence.

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

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

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

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

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

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

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

Here is the alternate view of patterns 6561 and 6543:

Alternate views of Butterick patterns 6561 and 6543.

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

Happy New Year, 1926!

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

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

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

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

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

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

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

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

Wishing you a very happy 2019!

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

Party Dresses for January 1926

Afternoon and evening dresses for women, Delineator, January 1926, page 28.

Evening dresses for teens (ages 15 to 20) and small women. Butterick 6535 and 6482, Delineator, January 1926, p. 27.

Details of evening dresses for young women. The proportions of the blue dress — and its flaring circular skirt — do not scream “Twenties.”

The lower edge of the “two piece circular skirt” stands out because it is scalloped and bound with bias. This dress has an underarm closing in the side seam, which would have used a row of snaps with a hook and bar at the top and at other points of stress.

Pattern magazines like Delineator came out ahead of the month on the cover, so you probably could have made these dresses in time for New Year’s Eve parties in 1926.  Dresses for adult women were shown longer than those for teens. If you want to make a Twenties’ dress shorter, you should shorten the pattern at the waist, not the hem. Click here for a 1926 article about dress alterations.

Butterick 6498, 6497, and 6527, Delineator, January 1926.

Butterick 6498, January 1928. The model is holding a huge feather fan that matches the  trim on her dress. The dress is as simple as they get! Notice the easing in the side seam instead of a bust dart. The side panel is sheer Georgette.

Details of Butterick 6497 and 6527, January 1928.

A slip with optional sleeves and a higher neckline would convert this to an afternoon dress as seen in the back view. It was illustrated in a “Lanvin green” border print.

This dress would be super-easy to copy using modern patterns. (Yes, bust darts were used in the 1920s! But they didn’t come so far toward the bust point. [Busts weren’t pointed.] Click here.) The circle skirt is attached to an under slip, so the skirt does not start at the waist, but at the hip.

The very long top on the”pervenche blue” metallic brocade dress was also seen on this pattern with “troubadour sleeves,” 1926.

Another very long-torsoed pattern from 1926. They were not as popular as the usual mid-hip waistline.

Butterick 6549, January 1926. (A good style for those who don’t appreciate a hip band.) This is an afternoon dress, with embroidered sleeves. Perhaps they have sheer appliques on them. The shirred godets go all around the dress — nice for tea dances. Bois de rose (rosewood) was a chic tan/rose pink color, not as orange as it looks here.

If made sleeveless, it would be an evening dress.

Butterick dresses 6517 and 6531; Delineator, January 1926.

“Princess dress” in the Twenties doesn’t mean it’s close-fitting, as in some other periods. The gold lining on an “Amazon green” dress below adds interest to the attached circular flare.

Details of Butterick 6517 and 6531. The vertical “circular frills” on 6517 were often used in the 1920s.

If you are wondering why the vertical frills are called “circular,” I’ll explain.

This is one of those things that made pattern making — draping and drafting patterns — such an interesting class. I urge you to experiment with it, because, although you can learn this principle, every tiny change you make to the pattern will change the way the fabric behaves, drastically!

The basic idea is this: if you want to create a cascade of ripples in a jabot or a flounce or a frill or whatever you want to call it, you need to cut the fabric with a curve on the side you will attach to the garment. It has to be cut to the right length, but not in a straight line. When you force that curve into a straight line, as has been done on Butterick 6517, ripples will form!

The “circular frills” at left and the overskirt at right are both based on circles.

Twenties’ dresses that depend on the “cut a curve and straighten it out” principle. Delineator, July 1925.

The long drape on the left is probably just a long rectangle. If cut on a curve, I think it would ripple more. The skirt on the right is based on a section of a circle. The ruffled V shaped neckline trim in the middle shows the soft ripples you get when you attach a curved frill in a straight line.

The more curved the line is, the more ripples you get when you straighten it out.

Butterick 2387 is meant to flutter. Dark fabrics are suggested, which does not rule out red....

The curves in these diagrams are greatly exaggerated, just to give the general idea!

A flounce based on a fairly tight curve.  When the blue half circle was straightened out, the flounce would have many ripples.

The gentler the inside curve, the fewer ripples the flounce will have.

That is the basic pattern for a 1920s dipping hem. (Of course, the waist is not really a circle…. This is just the starting point for a muslin.)

Left, a typical dipping hem for evening, September 1928; Butterick pattern.

Evening gown by Lelong, sketched for Delineator, May 1929. Getting all those flounces right took a lot of experiments in muslin! (Draping at 1/2 or 1/4 scale saves a lot of money.)

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Designer Fashions, February 1928

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

In 1928, “dresses are short for sports.”

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

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

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

Unusual Capes, 1912 to 1920

Cape by Reville and Rossiter of Hanover Square, London.

Many years ago I encountered this cape with an unusual criss-cross front.

Detail of front of vintage cape.

I was reminded of it by two different Butterick patterns.

1914: Butterick 6975

This one is Butterick cape 6975 from June 1914. Delineator.

Note: I often have to crop images to show details because they would otherwise be too tall to see on a computer screen. Tall hats make it a real challenge. This page was 16 inches high.

Those very tall aigrettes on the hat make it hard to photograph the entire ensemble. [The word “aigrette” is etymologically related to “egret.”]

Let’s hope those are heron feathers and not the endangered snowy egret, or osprey. (Egrets and Herons are members of the same family.)

Here’s a description of Butterick cape 6975:

One pattern included several versions of cape 6975. “The cape may be in any of three outlines….”

1920: Butterick 2319

In 1920, Butterick issued a another cape pattern, even more similar to the vintage cape:

Detail of front of vintage cape.

Butterick cape 2319, Delineator, April 1920.

Two illustrations of Butterick cape 2319 from 1920. Images via Google and the Hathi Trust.

I even found a story illustration showing a young woman wearing a simple criss-cross cape on board a ship.

Story illustration from Delineator, 1920.

Of course, that cape doesn’t really look very good, because the narrow criss-cross front straps conflict with the look of the dress under it. The high-end vintage cape, on the other hand, covers most of any blouse that would be worn under it.

Cream and black cape by Reville and Rossiter of Hanover Square, London.

This very high quality wool cape, which I found in a private collection, was made of tightly woven, creamy white wool, with a black silk lining and black accents. It reminded me of doeskin — but I think it was slightly brushed wool.

Detail of vintage cape fabric, showing damage.

Back of Reville and Rossiter cape. Part of the collar is black.

The cape was probably intended to be worn and kept on, like a suit coat, because it was held in place by ties in back, near the waist. This cape would not be something you casually slipped in and out of during a visit; I think you would want to be standing in front of a mirror as you settled it on your shoulders and then reached behind you — under the cape — to tie the silk ties like apron strings.

The pleated white bands end behind the wearer’s body in black silk ties, which have shattered.

The silk ties, like the lining, were very damaged.

However, there is no problem dating this cape, because it is the British equivalent of couture. The date, 1912, is on the label:

The label in the cape says Reville & Rossiter, (1912) Ltd. Hanover Square W. — a posh London address.

I said this was a very high-end garment;  Reville and Rossiter of Hanover Square also made the custom coronation gown worn by Queen Mary in 1911. (Click the link to see more views and close-ups.)

Back view of Queen Mary’s coronation dress, 1911. The embroidery represented flowers and leaves from England, Ireland, Scotland, and India. Image courtesy of The Royal Collection Trust.

They made this court dress (Click here to see full information and an enlarged image) in the collection of the Victoria and Albert museum, …

Reville & Rossiter made this Court dress with train, worn in September, 1913. Image courtesy of V&A museum.

Detail of bodice on court gown by Reville & Rossiter, 1913. Notice the superb lace and the tassels at the waist. Courtesy of V&A museum.

… and this 1919 evening dress, also at the V & A.

The front of the Reville & Rossiter cape. The black buttons and buttonholes echo the back collar, also black.

I suppose it’s possible that the cross-over front of this designer cape inspired copies, which became available as sewing patterns by 1914 — and the style was copied even more closely in 1920. According to The Royal Collection Trust, “Reville and Rossiter was a London couture house made court dressmaker to Queen Mary. It gained the royal warrant in 1910 and in 1911 designed the queen’s coronation robe. By the 1930s they were no longer in business.” You could say that our vintage cape, made in 1912, was fit for a queen.

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Evening Gowns, October 1930

Delineator cover illustration by Helen Dryden, January 1930.

I’m back! Although my “vacation” at the library was interrupted by some family illness, I did manage to photograph the 18 months of Delineator magazines from July 1929 through December of 1930 — and that was a time of sudden and drastic fashion change. I learned a lot — and will be sharing….

Paris fashions illustrated in August 1929 are recognizably from the Twenties.  Top left, coat by Lanvin; top right, dress by Chanel; bottom left, coat by Lelong; bottom right, autumn frock by Vionnet. Waists are low; hems barely cover the knee.

Three months later a new style was introduced:

Paris fashions illustrated in November 1929. Patou, second from left, took credit for the new silhouette, with longer skirts and belts at the natural waist. The designers are: 10) Molyneux, 11) Patou; 12) Cheruit; and 13) Mary Nowitsky. Delineator, November 1929. Nowitsky also shows a natural waist and a knee-covering hem, but Patou’s is noticeably longer.

Patou’s new silhouette was influencing patterns within a few months:

Two Butterick patterns from April 1930 show the new silhouette: dresses with a natural waist and much longer skirts than in the late 1920s.

Sadly, Butterick’s Delineator magazine was affected by the October 1929 economic crisis, with a decrease of advertisers and the near elimination of color fashion illustrations. However, these 1930 evening gowns were given the full treatment: ours to enjoy.

Evening patterns from Butterick: Left, 2978 has a deep back opening; Center, 2972 has diagonal flounces,; and right, 2976 uses several layers of net, growing gradually more transparent toward the hem. Delineator, January 1930, page 24. All are belted near the natural waist.

Butterick 2978 is a “princess” frock — i.e., it has no waist seam. January 1930. Dresses with these very narrow straps were said to have “camisole” necklines.

Butterick 2972, with a cape over one shoulder, also has a “princess corsage.” January 1930.

Butterick 2976, shown in pastel net instead of black. In this front view of the “princess body,” you can see that there is no waist seam. There are three layers of net, with an opaque layer closest to the body.

The top of the net dress has a very modern “deconstructed” look, as though the net covering the upper chest had been cut from top to bottom and is left hanging free, front and back.

A closer look at the tops of dresses 2978, 2972, and 2976 (black net), which is asymmetrical. (So is the blue one.)

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French Designer Gowns from May 1927

Evening designs from three famous houses, illustrated for Delineator in May, 1927.

A little guessing game: Can you guess the designers of these three evening gowns illustrated in May, 1927? Hint: Here are some names in alphabetical order; Chanel, Doeuillet, Lanvin, Patou, Vionnet.

Full length images; It’s 1927, and the skirt on the left bares the kneecaps. The dress in the center is a “bolero” fashion.

Answer:

From left, gowns by Vionnet, Lanvin, and Chanel. 1927.

It shouldn’t be a surprise that the simple gown with ingenious twisted fabric is the work of Madeleine Vionnet.

“Vionnet ties white crepe satin into a Gordian knot to give the swathed hip and up in front movement of the new season.” Delineator, May 1927.

The gown by Lanvin is elaborately sequinned, and — surprise — under the sheer skirt, it has knee-length trousers!

Lanvin bolero dress, heavily spangled. Delineator, May 1927.

“Gold and silver spangles outline the bolero in a heavy rope design and trim the bodice of Lanvin’s white crepe version of the Zouave silhouette with lamé trousers.”

The Metropolitan museum collection includes a black evening coat by Lanvin, also from 1927.

A “vanilla color” lace gown by Chanel, shown in Delineator, 1927.

“The square decolletage, fulness [sic] at the hips, and the use of vanilla color lace characterize Chanel’s frock.” It’s also notable for the bow shaped pin.

Pins in the shape of bows were widely copied. A nearly identical Chanel dress with similar joined bands of lace is in the collection of the Metropolitan Museum. (Click to see the additional images. It has a long tunic to be worn over a slip with two more layers of lace, plus a belt.)

These three dresses could be purchased in New York: the Vionnet and Lanvin from Altman, and the Chanel from Lord & Taylor.

Another interesting fact: All three dresses were designed by women at the top of French fashion — Madeleine Vionnet, Jeanne Lanvin, and Gabrielle Chanel.

Also illustrated in the same issue of Delineator were these lovely French gowns:

Fringed and beaded gown by Doueillet; Delineator, May 1927. The fringe is apparently tubes or strips of white chiffon.

A froth of a dress in black net, with pink satin bow. By Patou. Delineator, May 1927.

The Metropolitan museum has a similar (but not identical) 1927 black net dress by Patou.

For formal afternoon wear, Lanvin showed this:

An afternoon dress by Lanvin, seen in Delineator, May 1927. The curves of the embroidered design on the overskirt are echoed in the shape of the yoke. The taffeta sash is crimson.

Black and white organdy with a red sash is dramatic for an afternoon dress. Delineator explained the most popular evening color schemes from Paris:

Text from Delineator‘s fashion coverage, May 1927. Colors of the evening include “lipstick red.”

P.S. I can’t resist a shout out to Glamourdaze’s beautifully illustrated history of 1920’s fashions.

 

 

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More Princess Line Dresses (and Styling Tricks) from the Nineteen Twenties

These princess line dresses from the 1920’s do not have the characteristic horizontal hip band of most twenties’ fashions.

In my post about Butterick styles for October 1927, I wrote,

Not all 1920’s dresses had a strong horizontal line across the hip. Princess-seamed dress patterns were available for several years and didn’t change much — except for their length.

Left, Butterick 1683, a princess line dress; Delineator, October 1927, page 31. These 1927 hemlines are just below the knee.

The rear view of the princess dress (1683) shows the characteristic princess seams, which can be shaped to follow the lines of  the body without any waist seam. The front and back are each divided into three panels. A princess line dress usually skims the body — at least, they did before the use of stretch fabrics and elasticated knits.

More Princess Line Dresses from the Nineteen Twenties

Here are some other princess line patterns from 1925 to 1928. Some combine fur and velvet for evening, but one is a day dress.

Left, Butterick princess line dress pattern 6424, Delineator, December 1925. For a young woman or teen.

Left, Butterick princess line dress pattern 6506, from December 1925.

Also from December 1925, Butterick princess line dress pattern 6428. Dresses for adult women were slightly longer than those for teens.

In 1928, the princess line evening gown has a hem that dips low in the back. So does the neckline.

Butterick princess line pattern 2257, from October 1928. Delineator.

Putting Twenties Styles on Modern Bodies

A chenille or ribbon shoulder decoration draws our eye up toward the face on these formal dresses from December 1927. Butterick patterns 1734 and 1753.

I think I’ve mentioned this before: a director once told me that he wanted “absolutely authentic 1920’s costumes” — but added, “Just don’t give me any of those dresses with the waists down around the hips!” In times (like the 1980’s) when contemporary fashion insists on narrow hips and wide shoulders, making an actress feel confident in a dress with natural shoulders and a horizontal line across her hips can be difficult — especially if she isn’t slim-hipped or is self-conscious about her figure.

Trim or fur leads your eye to focus on the top of the body in these styles from December 1928. Butterick patterns 1761 and 1757.

But theatrical designers also have to consider audience expectations — I would not do a twenties’ show in which every woman wore princess line dresses! However, the princess line dress is among the authentic possibilities for one or two characters, or for a re-creator who doesn’t have a “boyish” figure.

Illustration by Helen Dryden, Delineator cover, September 1928. A band of deep pink on the scarf lends a touch of bright color to her head and face area.

The most flattering twenties’ styles balance the hip interest with interest near the face. Butterick patterns 1745 and 1735, from December 1927.

For plays and operas, we try to draw attention to the face and upper body. (It sounds crazy, but audiences can’t hear the lines if they can’t see the faces. Humans lip-read much more than they realize.) Accessories that create a vertical line, such as lighter or brighter colors near the face, those looooong 1920’s necklaces, and those often-seen 1920’s shoulder decorations are flattering and authentic twenties’ tricks.

A scarf or bows with long ties add interest to the top of the body and, in the case of the bows, create a vertical line to balance the hip interest. June 1928, Delineator.

These three couture sketches are undoubtedly twenties’ styles, but they use a variety of styling tricks to move our attention up the body, toward the face, and to deflect interest from the hips.

French designer fashions from May 1928. 1) Renee, 2) Jane Regny, 3) Jenny. Sketches for Delineator. The coat by Jenny suggests princess lines.

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Filed under 1920s, evening and afternoon clothes, Musings, Tricks of the Costumer's Trade, Vintage Accessories, Vintage Couture Designs, Vintage patterns

Colorful Clothing for Girls and Boys, July 1926

Clothes for girls (and a boy) age 15 and under, Delineator, July 1926, page 30.

I’m making an educated guess at the age range, based on other Butterick illustrations. Teen girls aged 15 to 20 years were “Misses,” and they usually had their own pages of fashions in Delineator magazine. Butterick patterns for children often reflected adult style details; but styles for young children changed very slowly, so we sometimes find patterns that were released years before mixed in with brand new ones — in this group, two patterns numbered in the 5000’s appear among 6900’s.

From left, a girl’s dress and bloomers, Butterick 6923; a “suit” for a young boy, 6928; and another dress and bloomers set for a girl, Butterick 6905, with hat 6323. Delineator, July 1926. Matching or coordinating bloomers were part of a toddler’s outfit.

Girl’s dress (probably for 6 to 10 years) No. 6859, and a red bathing suit, Butterick 5210. July 1926. The bathing suit is unchanged from previous summers; it first appeared in 1924.

Red and blue often photographed as black, so I love seeing the red swimsuit. It buttons at the shoulders.

When I based a painting on this 1920’s photo of my cousins Gerald and Mimi, I made their bathing suits blue, but colors ranging from purple (or navy blue) to red, green, and brown all photographed as black.

My cousins enjoying the sprinkler in the 1920’s. I guessed that their swimsuits were blue; now I know they might have been red. At least I gave them red sandals!

Three Butterick patterns for girls: Left, 6878; center, 6043; right, 6915. July 1926.

The white and blue dress (6878) looks much like the dresses for grown-ups in the same issue:

These dresses are smocked near the shoulders and hip, but they could also be made with ruched or shirred gathers, like the girl’s dress. When the sleeves continued to the neckline, forming a yoke, as on the left, they were called “saddle shoulders.”

The lavender dress has a sort of scalloped front; scallops were also used on this woman’s dress:

Scallops bound with bias tape decorate the front of a woman’s dress and a girl’s dress, both from 1926.

This is my favorite:

Butterick 6915 has colorful dots and a red tie that weaves in and out of openings on the front of the dress.

The same detail is seen in a dress for older girls:

Dresses for school-age girls, Butterick 6959, left, and 6909. July 1926.

Like the scalloped lavender dress above, the polka dotted dress (6959) can be tightened at the hip with button tabs. Perhaps the tie on the back of the flowered dress (6909) serves the same function.

Butterick 6908 is shown in a large floral print. It has a “saddle shoulder.” Its “collar” becomes a long tie — very common in this period.  Butterick 6087 is shown in coral red, trimmed with blue and white smocking.

Butterick embroidery design 10365 shows variations on smocking. From the August, 1925 Delineator.

Dresses for girls and women were often shown with smocking near the shoulder or hip, and sometimes at the neckline and wrist.

In the center, a Misses’ smocked dress pattern, 6012, from May, 1925. Left (6963) and right (6087,) smocked dresses for girls from July 1926.

Butterick patterns for little girls: Left, 6963 with hat pattern 6753; right, Dress and bloomers No. 6911 with hat 5557. Illustrated in July 1926.

In addition to children’s patterns illustrated in color, these outfits for boys and girls were shown in black and white, with a touch of yellow:

Matching brother-and-sister outfits from July 1926: Butterick boy’s “suit” 6948 and girl’s dress 6958. They look like they are wearing blouson jackets; in the twenties, a “dress” pattern could mean a separate top and skirt, often a skirt suspended from the shoulders on a sleeveless bodice.

The little girl wears Butterick dress 6917; the boy’s suit has shorts which button to his shirt and a “bib front…”

… like this woman’s dress (in yellow) from the same July 1926 issue of Delineator.

Left, a bib front dress from June, 1926; right, a bib front dress from July, 1926. Both from Delineator.

July is time to start planning a fall wardrobe, so these stylish coats for older girls were also shown:

A caped coat pattern, Butterick 6920, and a top-stitched coat, No. 6955, with Butterick hat pattern 6089. July 1926, Delineator. By making your own hat, you could match it to your dress, as shown at right. The hat on the left, however, has a grown-up buckle trim that must have made its wearer feel very sophisticated.

Notice how short these coats for girls are. I sometimes think that young women adapted easily to the shortest of nineteen-twenties fashions because they had never worn longer ones. Below are some coats for young women aged fifteen to twenty from the previous season — March, 1926.

Coats for Misses 15 to 20 or small women, Delineator, March 1926, p. 27.

By comparison, they look too long to me! By the end of the year, such coats were probably being shortened:

Couture by Berthe, left, and Vionnet, right. Delineator, January 1927.

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Filed under 1920s, Bathing Suits, Children's Vintage styles, Hats, Sportswear, Swimsuits, Vintage patterns

90 Years Ago: Daytime Fashions for April 1927

Two views of a suit from Molyneux, left, and a sporty double-breasted suit from O’Rossen. The Molyneux suit used the same ombre striped fabric for the skirt and to trim the jacket. Delineator magazine, April 1927.

Since time forthe Easter Parade is approaching, lets take a closer look at the hats:

Left, two views of a hat from Molyneux; right, a simpler hat by Reboux. 1927.

Original description of Paris designer suits from Delineator, April 1927, p. 24.

Molyneux was one of the most influential designers of the late twenties. O’Rossen is almost forgotten today.  Another very successful French designer from the 1920’s was Louise Boulanger, whose fashion house was called Louiseboulanger. I may have shown her appliqued coat before — but it’s worth a second look (below right.)

French designer coats illustrated in Delineator, April 1927, p. 25. Left, a coat by Paquin; right, an applique-trimmed coat from Louiseboulanger.

Description of Paris coats from Delineator magazine, April 1927, p. 25.

These coats could be purchased in New York at the shop of Mary Walls. Here is a closer look at those hats:

Left, a hat from Molyneux; right, a hat by Alphonsine trimmed “with a huge taffeta ribbon bow.” 1927. They were available in New York:  the Molyneux from Mary Walls, or the Alphonsine from Saks Fifth Avenue.

If your budget did not run to couture, these Butterick patterns for Spring were also available:

Butterick coat pattern No. 1346, and dress 1386. Delineator April 1927, p. 31. The dress has closely pleated tiers cut in a scallop shape.

Descriptions and back views of Butterick 1346 and 1386, 1927.

The coat lapel is trimmed with a large “flower” made of ribbon. The hat at left is decorated with a cliquet pin. Bar pins, some of them quite large, like the one on the dress, were often shown worn like this, pinned diagonally to the front of a dress which looks too fragile to support it. 1927.

Some early 20th c. bar pins. I have worn these on my lapel or at my throat, but never diagonally on the mid- chest as seen in 1920’s illustrations.

Butterick coat pattern 1387; Frock 1392; two-piece dress pattern 137; and “jumper frock” 1372, Delineator, April 1927, p. 32. The skirt of No. 1372 hung from an under bodice, not a waistband.

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Butterick 1387 and 1392, 1927.

Details of Butterick 1370 and 1372. 1372 has a bow at the neck, partly hidden by her hand..

Butterick patterns 1360, 1408, and sports wear patterns 1396 (spectator sports) and 1378 (active sports, like tennis.) Delineator, April 1927, p. 33.

The rows of parallel top-stitching on No. 1360 is a style of trim that was popular in 1917.

Butterick 1360 and 1408.

The tennis dress below is illustrated with contrasting fabric inside the pleats, which would have flashed when the wearer was in motion. I’ve also seen this in several other twenties’ illustrations.

Butterick 1396 and 1378, from 1927. The monogram shows the influence of Molyneux. That sleeve construction would be rather binding in an active tennis game,  but truly sleeveless styles were still associated with evening dress.

 

Butterick patterns for Teens, April 1927. The one with the black jacket is called the “tomboy suit.” Delineator, April 1927, p. 29.

Alternate views of Butterick teen fashions 1362, 1388, 1344, and 1366. April 1927 Delineator, p. 29.

Butterick styles for teens, 1927. Patterns 1362 and 1388.

Descriptions of Butterick 1362 and 1388.

Details of Butterick’s “tomboy suit,” pattern 1344, and a surplice dress, 1366. Delineator, April 1927.

Descriptions of Butterick patterns 1344 and 1366.

“Size 19 years ” had a 38 inch bust. Size 15 years was proportionately smaller. For more about 1920’s pattern sizing click here.

 

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Filed under 1920s, 1920s-1930s, Hats, Sportswear, Vintage Accessories, Vintage Couture Designs, Vintage patterns