Tag Archives: 1920s fashions

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.

Advertisements

3 Comments

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

Animal Prints and Sheer Yokes, 1927

This classic twenties’ cardigan outfit caught my eye because of its animal print (or fur) accessories. Butterick pattern 1345, from March 1927.

To the author of the AllWays in Fashion blog, who just wrote “it’s clear many of our old friends are returning for another stylish go-round:” this one’s for you! Synchronicity at work.

I’m not in favor of wearing real fur, but I have to admit that the belt and matching clutch purse really jazz up this basic cardigan and pleated skirt costume. I don’t know if the matching shoes came from the illustrator’s imagination or were really in the stock at Butterick’s art department. (I sometimes see the same hat illustrated with several dresses in an issue of Delineator.)

I found the other outfits illustrated with Butterick 1345 less iconic, although 1349 is also classic. Both have skirts with pleats only on the front.

Alternate view and description of Butterick 1349, from 1927.  Surprisingly, it’s described as a “jumper frock,” not a suit or ensemble, although the pattern in the Commercial Pattern Archive says it is a “two-piece frock.”

No. 1349 is third from left below.

Four Butterick patterns from Delineator, March 1927, page 23. From left, 1345, 1297, “jumper frock” 1349, and 1347, called a “bosom front” dress.

In the same issue I found two dresses with an unusual yoke; sheer fabrics were suggested for daytime, which probably means they were afternoon dresses.

Butterick patterns for a box coat (No. 1304), worn over a dress with sheer yoke and box pleated skirt (1337;) third is dress pattern 1335, followed by another sheer-yoked dress, Butterick 1331. Delineator, March 1927, page 22.

Box jacket 1304 over dress 1337. The very simple jacket is accented with dark applied trim. At right, the dress (1337) is illustrated in crepe silk, with a yoke of sheer Georgette, a crepe-like sheer fabric.

Alternate views and text describing Butterick 1304 and 1337. To create a suit-like ensemble,  dress 1337 is made using matching fabrics for jacket and dress. From 1927. It was common for 1920’s dresses to have all the fullness in front, with a straight back.

Butterick 1337, bolero dress 1335, and 1331. Delineator, March 1927, p. 22. The dresses right and left are formal day dresses, and the one at right could be made in a sleeveless evening version.

Alternate views and descriptions of Butterick 1335 with “simulated bolero” (in the center)  and yoked dress 1331. (For a “bolero” topped evening gown by Chanel, click here.)

Butterick 1337 and 1331, from 1927. The treatment of the armholes is different, but the yokes are otherwise similar: curved, and low on the sides. They would have been worn over a slip or teddy/combination, so the sheer bodice would have something opaque covering the sides of the breasts.

All the models in these 1927 illustrations have severely shingled hair. Here’s some shingle haircut advice from 1925.

 

Leave a comment

Filed under 1920s, bags, evening and afternoon clothes, handbags, Hats, Purses, Shoes, Sportswear, Uncategorized, Vintage Accessories, Vintage patterns

Formal Styles for October, 1926

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1 Comment

Filed under 1920s, 1920s-1930s, evening and afternoon clothes, Uncategorized, Vintage Styles in Larger Sizes

Back to School Clothes, Fall 1927

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

 

1 Comment

Filed under 1920s, 1920s-1930s, Children's Vintage styles, Sportswear, Vintage patterns, Vintage Styles in Larger Sizes

Pajamas for Girls and Women, 1920’s

Lingerie for Christmas, Delineator magazine, December 1925. Pajama pattern 6031 is lacy and ruffled, clearly for indoor wear only.

I was working on these images of 1920’s pajamas when The Vintage Traveler showed this photo of 1920’s pajamas at the beach, dated 1929. Lizzie said she is tracing the progress of pajamas from bedroom to beach in the Twenties, so this seems like a good time to share 1920’s patterns for pajamas (also spelled pyjamas) from Butterick. These are in roughly chronological order.

I have already written about pajamas from 1917, like these. The gathered ankles were also used on work overalls for women at the time. (Butterick 6031, above, has similar gathered ankles.)

Butterick pajamas from 1917. No. 9433 for girls or women.

Below: the deep, open armholes on this pair of pajamas from 1923-24 were also seen on day dresses.

Pajamas from Butterick, January 1924. Meant for lounging as well as sleeping, they have an oriental scene embroidered on the front; the pajamas have pockets, with contrasting bands at the top, the hem, and at the pants’ hems. Butterick 4639, illustrated among Christmas gifts in January 1924.

These seem to have a close relationship — except for the delicate fabric — to  the beach pajamas of 1929. Below: a pair of PJ’s from 1924 is banded with lace — for a bride’s trousseau.

Butterick pajama pattern 5309, June 1924. The trousers expose her ankles.

Below: strictly practical — but attractive, with contrasting collar and frog closings — are these pajamas for girls.

Butterick 5388, pajamas for girls aged 4 to 15; August 1924.

Much younger children might wear warm, one-piece night-drawers/pajamas with optional hood.

Night-drawers, Butterick 5506, for children 1 to 12. 1924.

Girls’ tw0-piece pajamas, Butterick 5529, from October, 1924. Pajamas for girls 4 to 15 years old.

Meanwhile, in Paris….

Glamorous lounging pajamas by Molyneux; couture sketched for Delineator, January 1925.

This 1925 pajama pattern was recommended for beach wear:

“Pajamas are smart for sleeping garments, or for the southern beaches.” Butterick 5948, April, 1925.

Here, Butterick pajama pattern 5948 is shown with satin bindings — sleeves, collar, and cuffs. The beach pajamas in The Vintage Traveler’s 1929 photograph appear to have satin binding at the hip and print binding at the ankles.

The Vintage Traveler found this picture, dated 1929, which shows beach pyjamas very similar to Butterick 5948, although I don’t see any pockets, and these pants are banded with the print fabric instead of the solid, shiny fabric used at the hip [and collar?]  Photo used with permission.

I don’t think they were made using Butterick pattern 5948, but, if I had Butterick 5948, I could make those beach pajamas.

Pajamas from Butterick: left, a lace-free version of pajamas 6031; center, pajama negligee 6093. Right: negligee 6107. Delineator, June 1925. Mid-twenties’ pajamas stop inches above the ankle.

About the “pajama negligee:” If you grew up in the nineteen fifties, you probably picture a “negligee” as a see-through robe worn by femmes fatales on the covers of  paperback detective stories. However, Yahoo mentions that the origin of “negligee” is “mid 18th century (denoting a kind of loose gown worn by women in the 18th century): from French, literally ‘given little thought or attention,’ feminine past participle of négliger ‘to neglect.’”  Encyclopedia Britannica explains: “Negligee, ( French: “careless, neglected”) informal gown, usually of a soft sheer fabric, worn at home by women. When the corset was fashionable, the negligee was a loose-fitting gown worn during the rest period after lunch. Women’s dresses were also referred to as negligés after the Restoration of Charles II in 1660, when the trend was toward loose fashions characterized by ‘studied negligence.’ “

In the twentieth century, such “at home” clothes were sometimes called “lounge wear.”

TwoNerdyHistoryGirls blogged about a painting of an 18th c. lady receiving a visitor while finishing her toilette. She wears a short, sheer combing gown (which gave us the word “peignoir.”) Peignoir, negligee, lingerie, boudoir — my, we owe a lot of words to the French!

“Pajama negligee” No. 6093 appeared more than once.

Butterick 6093, the pajama negligee, left; and pajamas 6178, right. Illustration from September, 1925. “Negligee” can mean a short robe.

Alternate version of Butterick pajama 6178, illustrated in August, 1925. Also called a “lounging-robe.”

One thing all these straight-legged pajamas have in common is their ankle-baring hems.

Butterick pajama-negligee 6093 in a short-sleeved summer version. July 1925.

Here, a luxurious, lacy version of pajama 6031 is suggested as a Christmas gift.

Lingerie for Christmas, Delineator magazine, December 1925. In this version, pajama pattern 6031 is lacy and ruffled, clearly for indoor wear only.

Pajama 6947 is scalloped, with gathered ankles trimmed in Valenciennes lace — Not for the beach. July 1926.

Butterick pajamas 6975, and child’s night-drawers, 6993. August 1926. Is it just the pattern of rectangles that gives “lounging-robe” 6975 such a wonderful twenties’ flavor? Maybe it’s the low pocket placement, too.

In 1927, Molyneux showed this lounging set:

A sketch of Molyneux’ luxurious velvet and chiffon pajamas for entertaining at home. Delineator, November 1927. In black chiffon and vermillion [red-orange] velvet, with [vermillion?] poppies and green leaf embroidery. The ankles are unusual.

These ready-to-wear pajamas have the more customary banded ankles.

Carter’s rayon knit pajamas, in an ad from November 1927.

Butterick pajama pattern 2143 was featured in the December 1928 issue. The pajamas are powder blue, trimmed in apple green — another unexpected 1920’s color combination.

https://witness2fashion.files.wordpress.com/2014/12/1925-oct-orange-blue-kitchen.jpg?w=500

[Edited 8/30/17: This color ad for Hoosier cabinets appeared in Delineator magazine, October 1925. I used it in a post about Orange and Blue in the 1920’s.]

A different Butterick pajama pattern was the centerpiece of an advertisement for Belding’s fabrics in September 1928.

This ad for Belding’s silk suggested patterns from Pictorial (dress no. 4337,) Butterick ( pajamas no. 2103,) and McCall (dress no. 5345.) Delineator, September 1928. “Two contrasting shades of Belding’s Crepe Iris make these cunning negligee pajamas.”

So: “negligee pajamas” were for lounging, and did not necessarily have the robe-like top of pajama-negligee 6093.

This three-piece lounging ensemble of pajamas and short robe was featured in the December 1928 issue of Delineator. They have “wide trousers” –something new.

My collection of images from 1929 and 1930 is not complete. I need to get back to the library, because, by 1931, pajamas had moved from boudoir to beach and even to public dances.

“Fascinating Pajamas,” Delineator, August 1931. For lounging, leisure, loafing or working. Second from the left is a special slip to wear under your pajamas.

For more about 1930’s pajamas, see The Fascinating Pajama, 1931.

https://witness2fashion.files.wordpress.com/2015/08/1931-top-of-aug-gowns-p-65.jpg?w=500

The pajamas for dancing are on the right. Delineator, August, 1931.

5 Comments

Filed under 1920s, 1920s-1930s, Children's Vintage styles, Nightclothes and Robes, Old Advertisements & Popular Culture, Slips and Petticoats, Vintage Couture Designs, Women in Trousers

The Glamour of Spanish Combs and Embroidered Shawls

Detail: wrapped in a Spanish shawl; advertisement in Delineator, October 1924.

Imagine that you need to advertise a fine product, but one not known for excitement. Your ad needs to be eye-catching, beautiful, and hint at luxury — and it has to appeal to women. P.S. Sex appeal won’t hurt.

Spanish combs and embroidered shawls in a full-color ad, Delineator, October 1924.

Spanish comb and fringe in a colorful ad from July, 1924. Delineator.

The gorgeous illustrations are by E. Trumbull:

Illustration by E. Trumbull, 1924.

Once Rudolph Valentino tangoed his way into the hearts of women in Four Horsemen of the Apocalypse  (1921) — followed with Blood and Sand (1922),  A Sainted Devil (1924) and perhaps before that, “Spanish” shawls — many probably imported from China– were a Twenties’ craze.

Click here for another vintage Illustration of a lady in a shawl wearing a Spanish comb in her hair.

This shawl is vintage, and had a crisp rather than silky feel to it:

Vintage embroidered shawl. The long silk fringe adds movement.

So many of these shawls were used as decor, rather than clothing, that I’ve heard them called “piano shawls.”

Click for an exotic comb and shawl combination from a 1926 film of  Carmen. Pola Negri‘s 1923 film The Spanish Dancer may have contributed to the fashion for spit curls. (My mother had one right in the center of her forehead in the 1920’s.)

The twenties’ fad for Spanish shawls and combs extended to spit curls.

Butterick offered its version of a “costume for a Spanish dancer” in 1924 and again (twice) in 1925.

Butterick 5625 is a “Spanish dancer’s costume” for Halloween. Delineator, November 1924.

It showed up again in February (for masquerade parties?) and in October of 1925.

Butterick 5625, “Spanish dancer costume.” These illustrations are from 1925. Note the spit curls.

Have you guessed what those glamorous paintings by Trumbull were advertising?

Detail of ad for Standard Plumbing Fixtures. Oct. 1924.

Ad for Standard Plumbing Fixtures, Delineator, July 1924. Comb, fringe, and spit curl. The bathtub and sink are shown, but not the toilet.

Ole! (Lampshade optional.) Ad from 1924.

4 Comments

Filed under 1920s, Hairstyles, Musings, Old Advertisements & Popular Culture, Vintage Accessories, Vintage Garments: The Real Thing

Embroidery Ideas from 1927: Sports Motifs and More

Butterick embroidery transfer 153, from Delineator, May 1927.

The oriental motifs on the scarf look a bit bigger than 5 3/4 inches…. Artistic license, presumably.

Vaguely Middle-Eastern (“Oriental”) embroidery motifs for hat and scarf, Delineator, May 1927.

The vaguely “oriental” embroidery on this dress from May 1927 is the top right design from Butterick 153, rotated to the left. Butterick 1390. Delineator.

But for me, the delight of this particular set of transfers is the women playing sports : tennis, golf, and polo.

Sportswomen depicted on Butterick embroidery transfer 153, from 1927.

You could use this design to make your own 1920’s “Polo shirt.”

[Note: This post is dedicated to sportswear collector, mentor, historian, and always interesting blogger The Vintage Traveler. ]

Tennis players in an ad for Lucky Strike cigarettes, Nov. 1927. “You, too, will find that Lucky Strikes are mild and mellow,” said Ed Wagner to Margery Bailey.

Monogram Mania

https://witness2fashion.files.wordpress.com/2015/09/lenglen-tennis-1919-ewing811.jpg?w=500

Tennis champion Suzanne Lenglen wore many outfits designed by couturier Jean Patou in the 1920’s, which helped to popularize his sporty sweaters and skirts.  Lenglen first appeared at Wimbledon in Patou’s short white silk pleated skirt and a sleeveless cardigan in 1921. According to Brenda Polan & Roger Tredre, her outfit created a sensation and introduced the sporty, boyish look known as the “garçonne.”

“As with so much sportswear, many of [his] clothes were in reality bought by women who did not participate in sport and were more interested in showing off their Patou monogrammed cardigan sweaters to their envious friends.” — Polan and Tredre, in The Great Fashion Designers

Patou took credit for shortening skirts to the knee in 1925; he was one of the first designers to put his monogram very visibly on his designs — monogrammed cardigans, scarves, etc. This was a clever move, since without the stylized  JP monogram his relatively simple sportswear — sweater, skirt, and matching scarf — would not have proclaimed its price. [Sometimes I’d like to go back in a time machine and strangle Patou, but then I realize that somebody else —  probably his arch-rival, Chanel — would have invented the merchandising of monogrammed “Designer” everything if he hadn’t done it.] For a concise history of Patou, see The Great Fashion Designers, by Polan and Tredre.

A  monogrammed tennis dress (or just a sporty dress) from May 1929. Butterick 2621;  Delineator.

After Patou popularized monogrammed sportswear in the 1920’s, Butterick’s Delineator magazine showed monograms or other embroidered motifs on many of the patterns illustrated.

Monograms on Butterick patterns from October 1924. On the left, GAB; on the right, JK.

Monograms in vaguely “Chinese” lettering were popular, as was stylized lettering that created a spot of interest on an otherwise simple garment.

Monograms in April 1927 and 1925. The dress at left uses the monogram letters below; three letters (R S K) create a diamond shape.

Butterick lettering transfer 10309 could be used to make a diamond-shaped monogram: one large letter between two smaller ones. January 1925.

Letters in the shape of Chinese brushstrokes were also chic:

Pseudo-Chinese letters for monograms; Butterick 10245, May 1924. Two letters — one from the set at left, one from the set at right — form a (roughly) diamond shape.

The monogram on this Butterick blouse says “AG.” September 1924.

Although completely unlike the other designs from Butterick transfer 153, this idea of embroidering a posey of poppies as if the flowers are emerging from a pocket is still charming:

A bunch of embroidered poppies seems to grow from the pocket of a dress or blouse. 1927. This design could be an applique, too.

Note: I quoted the passage about Patou and monograms from a previous post about tennis and fashion. Click here to read more.

It was customary, in three-letter monograms, to put the initial of the last name in the center, in a larger size, with first and middle name initials on either side. The monogram of Betty Louise Smith would be B S L.

 

3 Comments

Filed under 1900s to 1920s, 1920s, Accessory Patterns, Old Advertisements & Popular Culture, Sportswear