Tag Archives: 1920s styles

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!

Advertisements

1 Comment

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!

11 Comments

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!

4 Comments

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.)

2 Comments

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

Vintage Photos for the Holidays

A little girl communicates with her “Paw Pa” through an ear trumpet. Family photo.

“Can you hear me now?”

It’s time for my annual reminder to keep a box of unidentified family photos and an acid-free pen or a pencil at hand for the quiet moments at family gatherings.

Gertrude, Mack, and Nina Holt with their mother “on her 70th birthday” (1938.) They lived in Pulaski, Tennessee, and sent this to their brother Leonard, in the Army in San Francisco. “I sure do wish Leonard was on here and then the 4 children and mother could all be together.”

Any time you gather with your eldest relatives and friends is a good time to chat about the past. Family stories need to be passed down. (Bonus: you won’t have to talk politics….)

If you think you’ve heard all the stories before, consider that now that you are fully adult, seniors may be willing to tell you things they wouldn’t speak of when you were a child:  failed marriages, lost loves, siblings who died young or were never mentioned for some other reason. (I certainly learned some surprising things when I asked as a adult!) Perhaps there is a terrific story behind one of those faces. Besides, sometimes the stories are funny — and just waiting to be told when the time is right.

Today’s photos come from a side of my family I never knew.  My aunt Dorothy’s husband, Leonard H. Holt, died suddenly a short time before I was born.

My uncle Leonard Holt, serving in World War II.

Dorothy, Holt, and Dorothy’s mother. Redwood City, CA, about 1919.

Dorothy is dressed in hiking clothes, and Holt is wearing “civvies” although he served at nearby Camp Fremont, an Army training camp during the First World War.

L. H. Holt standing in front of a Southern Pacific Railway building in San Francisco. Picture dated 1923.

Dorothy did tell me that Holt was very particular about his clothes, and had his army uniforms tailored to fit well. Look at his elegant shoes! After Dorothy died, I found some of Holt’s silk shirts (with white French cuffs and made for a detachable collar) stored in the cedar chest that once held her wedding linens — a “hope chest” as unmarried girls called them. Holt’s shirts were beautiful, in soft pastel colors or stripes that epitomized the Arrow Shirt man’s look.

I think they were married about 1925. In 1930, Holt was still in the Army, and the couple lived on the Presidio, a beautiful Army base in San Francisco.

Dorothy and Holt vacationing in the snow, early 1930s.

In spite of war-time travel restrictions, Holt’s nephew (?) Jody Holt (serving in an Army band at the time) was visited by his sweetheart “Miss Meek” and his mother (?) Sally Holt, in San Francisco. 1945.

Holt died of a heart attack not long after this happy family visit.

Dorothy was so grief-stricken that she had a sort of breakdown, and didn’t speak of him very often, but she kept up a correspondence with his large family, including the Garners (his mother’s family) in Tennessee. In 1975, someone sent her a photo of the old family home on the farm:

“The little old home on the farm, Pulaski, Tenn, Oct. 1975. Mack Holt’s Farm.”

Mack was still alive, and his new home was much larger.

Holt’s brother Mack apparently kept the old family farm, maintaining the tiny old farmhouse, and lived in a newer, larger house — a family success story. There is great information on the back of the photo, including “Mack J. Holt, Murry Drive” & “Leonard’s brother.”

The great thing about photos exchanged by mail is that they are often labeled or signed, including long notes on the back  — a treasure for genealogists.

Many of these children are Leonard and Dorothy’s nieces and nephews. The back of the picture is full of information.

The back of a photo of many Holt family children. It tells us that Holt’s sister Nina had five children, and that his sister Gertrude had children (one called Hickie) and grandchildren. I don’t know who Estelle was, but that’s a trail to follow.

This photo gave me the names of Nina and Gertrude’s husbands: (Oddly, there’s another Mahlon in the family, her uncle….)

“Nina + Howard” and “Gertrude + Mahlon”

This photo is so old that is has cracked, but luckily the faces and their names are intact: “Leonard’ s Father The Holt Boys John & Mahlon Holt.” JH is on the right.

Unfortunately,  not all the pictures mailed from Tennessee are labeled.

All I know about this couple is that they were photographed in Pulaski. Is this the same mustached man who appears far right in the large group photo below?

Perhaps there are folks in Pulaski, Tennessee, who will recognize their ancestors in this large, undated picture. (It’s 7.5 x 9″) I’d be happy to send it to someone who’d treasure it.

Studio photograph of the Holt family of Pulaski, Tennessee. There are no names on the back, but I think I recognize John Holt, standing 2nd from right, from another photograph. (He died in 1904.) I believe one of the young boys is Leonard H. Holt.

The woman seated center in this photograph appears to be wearing a mourning hat and black veil.

Detail of woman in widow’s cap.

Could the man seated in front, with a large mustache, possibly be this mystery man, photographed with both Holt and Dorothy, probably in the 1920s?

Unknown man with very large mustache, standing with Leonard H. Holt, probably at the Presidio in San Francisco, probably 1920s.

Mustached mystery man with Dorothy Barton Holt, probably at the Presidio in San Francisco, and, judging from her clothing, in the 1920s.

I believe this man was a visiting relative — there are many pictures of him. I could easily believe he’s from Tennessee….

[For any genealogist interested in the large group picture — or in any of these people, I believe these are relatives of Leonard H. Holt, born in Pulaski, Giles County, Tennessee on February 2, 1893 or (probably) 1894. His parents were John Richard Holt (1868-1904) and Metta Ann Garner (1868-1939).  Their other children included Gertrude “Mamie” Holt (1893-1986), Katrina “Nina” Holt (1897 – ?), and McCallum “Mack” Holt (1900-?) My Uncle Holt (his wife never spoke of him by any other name) died of a heart attack while serving in California in 1945. At the time of his death, according to his wife, he held the rank of captain. They were childless. I think he was a Freemason, and Dorothy belonged to the Eastern Star — for those who can search such records. I have many photos of Holt family relatives, and no one to give them to.] You can contact me through witness2fashion@gmail.com

4 Comments

Filed under 1870s to 1900s fashions, 1920s, 1920s-1930s, 1930s, 1930s-1940s, Boys' Clothing, Children's Vintage styles, Menswear, Musings, Shoes, Uniforms and Work Clothes, vintage photographs, Women in Trousers

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.

 

 

5 Comments

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

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.

2 Comments

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