Tag Archives: 1920s fashions

Berthas and Capelet Sleeves: 1930

In the 1970s, we called these “flutter sleeves.” When they first appeared in the early Thirties, they were often called “capelet” sleeves. (And their construction was different.)

These flutter sleeves — loose-fitting and cool — were popular in the 1970s. Butterick pattern 3578, dated to 1974.

They are reminiscent of a Nineteen Thirties’ style. A variation on the cape, the bertha collar, and the sleeve, a pair of “capelets” covering an otherwise sleeveless dress became a fashion in 1930. But the “bertha” came first.

Berthas, 1920s and 1930s

This sheer frock with scalloped bertha collar (sometimes called a cape or capelet) was suitable for teens and  for women up to size 44 bust. Delineator, Jan. 1930.

This very similar dress calls its scalloped bertha collar a “capelet.” Butterick 3054; Delineator, February 1930.

Butterick blouse 3758 has a bertha; Delineator, April 1931.

Butterick 3231 has a bertha collar. Delineator, May 1930.

The bertha was one way to cover the upper arm; another 1930 approach was a pair of “capelets instead of sleeves.”

Butterick 3587 (left ) and 3566 (right.) In both [otherwise sleeveless] dresses, the upper arm is covered by a “capelet.” Left: this “capelet” is a bertha collar. Right: Two separate capelets are the new style.

The broad, sheer collar on the left is a bertha collar described as a capelet; the sleeves on the right, which suggest the “flutter sleeves” of the 1970s, are actually two little capes (or “capelets,”) one to cover each arm. See the back view. They don’t meet in the back, as a cape would.

On Butterick 3252, right, the capelets are outlined in rickrack trim. Delineator, June 1930.

The “bertha” collar (which had been popular in the late 1830s to 1840s) was familiar again in the 1920s, often appearing on evening dresses for girls in their teens.

https://witness2fashion.files.wordpress.com/2015/06/1926-sept-p-27-7065-7024-7059-7047-7063-7057-7003-7053-top1.jpg?w=290&h=500

Left, an evening dress with a cape-like bertha collar. Fashions for teens, September 1926. Delineator. The arm baring dress on the right is more adult.

Dressy dresses for girls in the Twenties often had a bertha collar, which covered the upper arm.

Bertha collars covered the shoulders on these dresses for girls under 17;
Delineator, April 1930. The bertha on the right is split in the back.

Berthas were also seen on grown women, but covering the upper arms made a woman’s dress suitable for “afternoon” or dinner dates instead of “evening.”

Butterick 2070 from June, 1928. Delineator. The attached bertha collar ties like a cape.

(Truly sleeveless dresses were worn as formal evening dress during most of the Twenties.)

Of the six 1930 dresses that were originally featured on this page, four of them have some kind of cape-like sleeve or bertha.

Four (and a half) dresses from page 34, Delineator, April 1930.

The bertha resembles a cape when viewed from the back of the dress. This sheer, attached collar covers bare arms. Butterick 3168; Delineator, April 1930, p. 34.

It’s an afternoon dress. Older women probably appreciated the upper arm coverage, but were used to going bare-armed in very formal evening gowns.

This very-wide collar extends past the shoulders, but it’s not long enough to be described as a bertha. Butterick 3140; Delineator, April 1930, p. 34.

There are optional 3/4 sleeves under this extended, ruffled bertha collar/capelet. Butterick 3138; Delineator, April 1930, p. 34.

Where does the cape begin? Where does the collar end? Butterick wrap dress 3145, Delineator, April 1930, p. 34. Click here to see a fichu.

 

Two Capelets Instead of Sleeves: Very 1930

“The Cape Idea:” three variations from Delineator, May, 1930, p. 32. Right, 3221 has double-layered capelet sleeves — a little two-tiered cape over each arm.

Butterick blouse 3274, from June 1930, shows its capelets — probably each is a half-section of a circle. They are not sleeves, because they do not have an underarm seam.

A pair of capelets had to be stitched to the dress, but bertha-like capes/capelets could also be removable — some patterns gave the option of making a separate cape or one that was attached like a bertha.

The cape at left is part of the dress (and is actually two pieces in back;) the cape at right could be made separately. Butterick 3190 and 3237. Delineator, May 1930, p. 108.

Below: “Many sleeveless frocks have their own little tied-on matching shoulder capes. Of course the cape can be attached if you prefer that. The dress itself has a lingerie collar and a square neckline.”

Left: Butterick 3277 could be made as a sleeveless dress with separate tie-on cape, or as a dress with a bertha/capelet attached under its little white collar. Delineator, June 1930.  Right:  Oh, no — another 1930’s bolero!

Below, a little  “capelet” is sewn to the dress over each armhole.

Butterick dress 3293, Delineator, June 1930. The Commercial Pattern Archive has this pattern. The pattern layout shows that each capelet is about 1/3 of a circle, curved at the top.

The back view of Butterick 3334 clearly shows long capelets rather than closed sleeves. The front also shows a glimpse of arm between the capelet and the dress.

The “little cape sleeves” of  Butterick 3291 look very much like those 1970s’ flutter sleeves. [Yes, it’s hard to ignore those beach pajama/overalls!]

The sleeves on the right do look like sleeves, rather than capelets, but they are described as “shoulder capelets.” Butterick 3486, October 1930.

Below: This is a true sleeve –what we later called a “flutter sleeve.”

Pretty sleeves — not capelets — from May 1930. Butterick 3202.

I believe that actual capelet non-sleeves went out of fashion as 1930’s sleeves grew puffier and shoulders grew wider.

This 1939 dress has padded shoulders; instead of a flared, semi-circular capelet or sleeve,  this sleeve has a pleat for fullness.  Butterick 8583 Butterick Fashion News, Sept. 1939.

A lovely style while it lasted….

Two 1930 dresses with capelet sleeves (left) or a bertha (right) to cover the upper arm. Butterick afternoon dresses 3247 and 2988.

The dress at left, above, had three capelets: one over each arm and a third covering the gap between them in back.

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Filed under 1920s-1930s, 1930s, Capes, Children's Vintage styles, Dating Butterick Patterns, Sportswear, Women in Trousers

1929 and 1930 Side by Side

Two very similar suit patterns illustrate the big change in fashion between late 1929 and 1930. Both images from Delineator magazines.

I was struck by the similarity — and the difference — between these two Butterick patterns, issued in 1929 and 1930. Both have bolero jackets, which stop above the “waist” of the suit. Both have blouses with a line of buttons down the front, prim collars, deep cuffs, and are accented with frills. Both have a girdle around the hips. Both are shown in print fabrics. Both are worn with cloche hats.

But…. the return to the natural waist has completely changed the proportions that look “right.”

1929 bolero suit with dropped waist: Butterick 2576, Delineator, April 1929.

1930 bolero suit with natural waist: Butterick 3378; Delineator, August 1930.

Side by side again:

Delineator published these illustrations less than a year and a half apart.

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Filed under 1920s-1930s, Dating Butterick Patterns, Hats

Valentine Fashions from 1926

Three young women in their teens admire an elaborate Valentine card in this illustration of Butterick patterns. 1926. Naturally, their shingled hair styles are also up to date.

For the February 1926 issue of Delineator, the fashion illustrations for teens, boys, and girls clothes were built around a Valentine’s Day theme. Even the patterns for little boys  were related to Valentine’s Day in the clever illustrations, probably by M.S. Walle.

Left, a little girl wears leggings to protect her from February weather; right, a little boy in short pants (buttoned to his shirt) holds a Valentine card to be mailed.

Right, an older girl in a green, caped coat is about to put the boy’s card in the mailbox. 1926.

Page 30, Delineator, February 1926. Valentines are mailed, received, and enjoyed by children wearing Butterick patterns.

The girl at left wears a dress that could go to the office — or, being velvet, to a daytime party. It is quite short. Frillier party fashions are worn by the other girls.

Butterick fashions illustrated on top of page 30, Delineator, February 1926. Hems for young teens barely cover the knee. Little girls’ knees are bare.

Even the littlest girl holds a Valentine close to her heart.

A range of ages for girls, plus some little boys in short pants, were shown in patterns illustrated on page 31.

A candy box and Valentine’s cards interest these schoolgirls. Delineator, p. 31. February 1926. One girl still has long, long curls.

This Valentine girl is dressed up in an entire outfit made from Butterick patterns, including her hat.

These little boys play with a ball, while the girl below holds a heart-shaped cookie (with a bite out of it.)

Young girl’s fashions, February 1926. Imagine buttoning those leggings!

Even very little girls attract Cupid’s attention.

Since I’ve been absorbed in boleros from the 1930s this week, I can’t resist pointing out this much longer 1926 bolero:

The long bolero at left is typical of the twenties, when the waist was near the hips.

The younger the girl, the shorter the dress. These are for ages 15 to 20.

All these “Valentine” girls wear their dresses much shorter than adult women in the same issue.

Women’s skirts are shown well below the knee. Delineator, page 28, February 1926.

Although I couldn’t find a signature on the pages of children’s fashions, the February illustrations for women’s fashions were signed by M.S. Walle.

Artist’s signature at lower left: M. S. Walle.

Happy Valentine’s Day!

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Filed under 1920s, Accessory Patterns, Boys' Clothing, Capes, Children's Vintage styles, Coats, evening and afternoon clothes, Hairstyles

The Big Hem Drop: 1929 to 1930

Only one year separates these Butterick patterns from Delineator magazine. This is rapid fashion change.

The change in fashion that took place between Fall of 1929 and Spring, 1930 — just a few months — fascinates me. The fact that a completely different fashion silhouette was adopted during a time of economic crisis  — when pennies were being pinched — makes it even more astonishing.

Just to get our eyes adjusted and refresh our memories of 1929 before the change, here are several images of couture and of mainstream Butterick sewing pattern illustrations from July 1929.

French couture sportswear, illustrated by Leslie Saalburg in Delineator, July 1929. Short and un-fussy.

These fashions are unmistakably late 1920s. Note the hem length, which just covers the knees. There is a crisp, geometric quality about many of these outfits.

Couture sportswear illustrated by Leslie Saalburg for Delineator, July 1929.

Patterns for home use:

Spectator sportswear; Butterick patterns illustrated in Delineator, July 1929. The dress at left is soft and flared, a hint of things to come. The dress at right is crisply geometric. Both are short.

1920’s day dresses, Butterick patterns 2697 and 2707. Delineator, July 1929. Mostly straight lines.

Butterick patterns for sportswear, Delineator, July 1929. Simple, pleated, short.

Whether we look at French couture or home sewing patterns, the silhouette and the length are  definitely “Twenties.”

In the 1929 Fall collections, couturier Jean Patou showed longer skirts — well below the knee — and took credit for changing fashion from the characteristic Twenties’ silhouette to the longer, softer, Thirties’ look. (A few other couturiers also showed longer dresses, but he took the credit for being first.)

French couture fashions sketched for Delineator, November 1929. The large illustration at left is an ensemble by Patou — noticeably longer than the other designers’ hems.

“Paris revolutionizes winter styles.” Compare the hem on the dress by Patou, second from left, with those from Molyneux (left, very “Twenties”) Cheruit (third from left,) and Nowitzky (also “Twenties” in spirit, far right.)

Below is the Fall 1929 version of Chanel’s famous black dress. (In the original, from 1926, hems had not reached their shortest length.)

This variation on Chanel’s famous little black dress — with a slightly different placement of tucks –falls just below the knees in 1929, the season when Patou was pioneering longer dresses.

By Fall of 1929, Chanel’s “little black dress” (a sensation in 1926) is just below the knee. It also has a natural waist.

You may have noticed that waistlines are rising as hems are falling; that’s a topic deserving an entire post, but….

Delineator, October 1929, p. 25. “Higher Waists, Longer Skirts.”

The flared dress at left has a softer, less geometric look, and shirring near the natural waist instead of a horizontal hip line. Delineator, October 1929. This dress seems to be “in the stores” rather than a Butterick pattern.

Between July couture showings and October, 1929: That is how fast commercial manufacturers picked up on the new trend for longer skirts and natural waistlines.

Butterick patterns in Delineator, October 1929.

Delineator (i.e.,Butterick Publishing Co.) had offices in Paris where the latest couture collections were sketched (and copied.) In this case, longer skirts appeared on patterns for sale very quickly. (The process of issuing a pattern took several weeks, and the magazine had a lead time of a month or so, as well.)

When these patterns appeared in April, 1930, nothing was said about their length. Old news!

Dresses for women, up to size 48. Butterick patterns from Delineator, April 1930, p. 31. From left, “tiny sleevelet,” “flared sleeves,” “white neckline,” and “short kimono sleeves.”

By April 1930, what was notable about these dresses, to the editors of Delineator, was the variety of their sleeves!

Back views of Butterick 3143, 3179, 3173, and 3180. Delineator, April 1930, p. 31.

Longer styles had been in the news for several months.

Butterick patterns from Delineator magazine, January 1930.

Butterick patterns from Delineator, February 1930. Hems have fallen. Waists are in transition.

The most interesting article I found about this change from “Twenties” to “Thirties” was in Good Housekeeping magazine, November 1929, pp. 66 and following.

In “Smart Essentials of the Winter Clothes,” fashion editor Helen Koues wrote:

“They differ from any we have had since the war…. To be sure, last season Patou and a few houses tentatively raised the waistline, and we talked about it and made predictions. But now the normal or above normal waistline is here, and anything remotely resembling a low waist is gone. We have had it a long time, that low waist and short skirt, and it is only fitting and logical that it should make way for some sort of revival. [“Directoire, Victorian, Princess….”] We have worn high waists and long skirts before — both higher and longer. But coming with a greater degree of suddenness than any change of line has come for some years, it is an inconvenient fashion.  What are we going to do with our old clothes? [My emphasis.]

“The new silhouette will be taken up just as fast as the average woman can afford to discard her old wardrobe…. The average woman will replace what she needs to replace with new lines, but she will take longer, because she will wear out at least some of her old clothes.  In three months, however, all over America the tightly fitted gown, the longer skirt, the high waist will have superseded the loose hiplines of another season. and the main reason for the speed of this change is that we are ready for it. We are bored with the old silhouette, for we have had it too long — so long, in fact, that… we were beginning to think that we would wear short skirts and low waists till we die…. The psychological moment has come….

“Skirt lengths are particularly interesting: for sports, three inches below the knee is the right length; for street clothes, four inches below, and for the formal afternoon gown about five inches above the anklebone. Evening, of course, right down to the ground… and probably with as much length in front as back…. These are the average lengths.

“Skirts are slimmer than ever, if that is possible, or at least the effect is slimmer, because with the added length the flare necessarily begins lower down. But the flare is still there in full force….”

Colors for Spring, 1930. Butterick patterns in Delineator, March 1930. Flares, softness, and a coat that is shorter than the dress.

Koues also noted that the new three-quarter coat, “that strikes the gown just above the knee” was in style, although she did not mention that this, at least, was a break for women who could afford a new dress but not a new winter coat. Koues recommended wearing longer knickers (underwear) in winter to make up for the shorter coat.

Short coats or long jackets, February 1930, Delineator.

Vogue, October 26, 1929 reminded readers “We told you so!”

If you have access to Vogue magazine archives you may enjoy a timeline of Vogue fashion predictions from October 26, 1929. It began, “We told you so! If you are one of the many women who are complaining that the new mode means a completely new wardrobe, that you were caught unawares, we take no responsibility. For two whole years, we have been reiterating and reiterating a warning of the change to come.”

Here are some highlights of Vogue‘s predictions:

JANUARY 1, 1928:  “The Waist-Line Rises as the Skirt Descends…”

JANUARY 13, 1928:  “Skirts ….. Will Be Longer” — “Waist-Lines Will Be Higher” — “Drapery and the Flare Will Be Much in Evidence.”

APRIL 13, 1929:  “What looked young last year looks old this season — all because longer, fuller skirts and higher waist-lines have been used so perfectly that they look right, smart, and becoming.”

JUNE 22, 1929: “The hemline is travelling and so is the waistline. One is going up, and the other is coming down.”

Vogue ended, “Need we say more? Surely, Vogue readers are well prepared.”

This is what designers in Paris were showing in Spring, 1930.

Paris Couture, sketched for Delineator, May 1930. Every one has a long skirt and a natural waist.

I began with several images of patterns and couture from July 1929. Here are some dresses from July 1930, showing how completely the Twenties’ look had been “superseded” by the Thirties — in one year.

The Twenties are over. The Thirties are here. Patterns from Delineator, July 1930.

Naturally, in 1929-1930 some women thought the new long skirts made them look “old” while some thought they looked “youthful;” but that is a story for another day!

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Filed under 1920s, 1920s-1930s, 1930s, Coats, Old Advertisements & Popular Culture, Panties knickers bloomers drawers step-ins, Sportswear, Underthings, Vintage Couture Designs, Vintage patterns, Vintage Styles in Larger Sizes

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

A Dead End in Fashion, 1920

Butterick dress patterns for June, 1920. Delineator magazine.

In fashion, trial balloons are sent up all the time. Some take off into the stratosphere, and some quietly deflate and are forgotten. As far as I can tell, it’s all about timing.
This dress pattern from 1920 got it half right:

Butterick dress pattern 2417, Delineator, June 1920.

Bodice of Butterick 2417 from 1920. Another “Chinese” influenced top from 1920 can be seen here.

The sleeveless look, the sheer embroidered Georgette, and the horizontal line at the hip became standard for evening wear a few years later.

Sleeveless, embroidered evening dress; Butterick 1090, December 1926.

The loose, unfitted, hip-length top turned out to be the look of the future.

Butterick blouse pattern 5172, April 1924. Delineator.

The bottom part of dress 2417, however, was another story,

The skirt of dress 2417 from 1920 didn’t become mainstream fashion. [I heave a sigh of relief….]

“The drawn-in effect achieved by the plaits at the lower part is new…. ” I think those may be tassels on the front pleats. The other pleats (tucks, really) are stitched down. “Lower edge when falling free [is] 1  3/4 yard.”  With 6 or eight stitched-down pleats on each side, it would be considerably less.

Alternate view of Butterick 2417.

Hobble skirts which made wearers take tiny steps were a hit in earlier in the century — this image is from 1911 — but our 1920 version didn’t suit the increasing freedom of women, who were used to plenty of leg-room by 1916.

https://witness2fashion.files.wordpress.com/2014/07/chanel-1916-bell-plate-39-from-fashion-through-fashion-plates-doris-langley-moore.jpg?w=500

Designs by Gabrielle Chanel, dated 1916 [from Doris Langley Moore’s Fashion through Fashion Plates via Quentin Bell.] No need to take mincing little steps in these skirts!

The mid-Twenties’ shape was narrow and unfitted…

These dresses from July 1925 have shapeless, hip-length tops like No. 2417, but are at least as wide at the hem as at the hip, with room for walking.

Butterick dresses for young women; Delineator, September 1925.

… but Mid-Twenties’ skirts didn’t start out wide and then get tighter near the hem, like No. 2417.

Butterick dress pattern 2417, Delineator, June 1920.

Just another fashion dead end!

Advertisement for satin, April 1920. A large end, and a dead end, too.

 

 

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Filed under 1900s to 1920s, 1920s, Musings, Old Advertisements & Popular Culture