Tag Archives: 1930s fashions

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

Boleros Through the 1930s (Boleros Part 4)

Butterick bolero pattern 7459, from July 1937. Woman’s Home Companion.

When I went looking for 1930’s boleros, I found that I had many more images of them than I realized! (Part 1) (Part 2) (Part 3) What started as one post turned into four — so far. And I am limited to the images I happen to have photographed from Delineator Magazine, Ladies’ Home Journal, Woman’s Home Companion and various store flyers from a few pattern companies.

To backtrack a bit, with the low waist of the 1920s, boleros might be quite long:

A “youthful” bolero from Butterick, Delineator, April 1929.

A Butterick bolero outfit from August 1929. Butterick 2749, from Delineator magazine.

As waists rose, boleros began to get shorter.

Bolero outfit from October, 1931. Butterick 4122. Illustrated in Delineator magazine.

The width of the bolero was thought to minimize the waist — recommended for women whose waists had expanded during the 1920s. I’ve shown many boleros from the early 1930s (click here or here.) This one, from 1936, is trimmed with pleated ruffles:

It’s similar to a store-bought outfit from 1937:

This bolero covers a sheer, lace bodice. WHC, March 1937.

As a way to stretch your wardrobe with very little money, boleros in different colors could be worn over most dresses. This set of inexpensive additions is Vogue pattern 7250, from Ladies’ Home Journal, February 1936.

Simplicity offered this bolero pattern,  (along with other accessories) in a store flyer, August 1939. Simplicity accessory pattern 3155.

This bolero covers a low-backed sundress; Companion-Butterick pattern 7296, WHC , April 1937.

The bows are part of the dress, not the jacket.

Companion-Butterick pattern No. 7296 shows a low-backed summer dress with matching bolero jacket. Woman's Home Companion, April 1937.

Butterick pattern 7303 from WHC, April 1937.

Companion-Butterick jacket dress pattern 7359; Woman’s Home Companion, May 1937.

This illustration of 7359 shows how many outfits you could get from one pattern in the price-conscious 1930s. [E.g., wearing the white jacket with the brown dress would change it from “fall” to summer….]

In that pattern, the bolero tied in a bow at the high waist. The traditional bolero jacket stopped inches above the waist:

Companion-Butterick pattern 7459 would make three different jackets — or the same jacket in several colors. July 1937.

Economy wardrobe: A jacket took less fabric than a dress, and jackets could be worn with several dresses, if you coordinated carefully.

“…Sure to give you a reputation for having lots of evening clothes….”

Elsa Schiaparelli was credited with popularizing the bolero in the 1930s. She was still using them in fabulous ways in 1940.

Butterick 7804 from a Butterick Fashion News flyer, April 1938. “The bolero (in printed silk) says Schiaparelli is top news….”

And “The beer jacket in denim is still headline material [!]”  Beer jacket? Apparently a “college craze” ( click here ) which, in this case, extended to women students.

You could make four different jackets from Butterick 7804 — including a “beer jacket” and the fitted, zipper-front jacket at bottom right. Zippers were already common in sportswear, but 1937-38 was the year they began to be featured in dressier clothing for women.

Butterick 7803, from a BFN flyer, April 1938. Boleros were definitely getting shorter.

Butterick 7788 has a very brief bolero. BFN flyer, April 1938. Triangular pockets are a couture touch.

A very high-style bolero, Butterick 8805 from August, 1938. Butterick Fashion News. Next to it is a variation of the tied bolero, here called a bloused jacket — the line between “bolero” and “jacket”becomes blurred.

You may have noticed that sleeve heads got puffier, and then shoulders got wider, as the Thirties progressed.

Three jackets from Butterick pattern 8367; BFN, May 1939. These jackets require shoulder pads.

Butterick bolero outfits 8391 and 8355, BFN, May 1939. These are not just for teens. [There is no “apron” explanation.]

Shoulders were getting wider as skirts got shorter:

In May, 1939, we probably can’t attribute the shorter skirts to wartime regulations.

Right, a wide-shouldered, rather matronly bolero outfit. Butterick 8472 from BFN flyer, July 1939.

This wide-shouldered, cropped jacket with frog closings is Simplicity 3203, from October 1939. Only its length says “bolero” to me. Those horizontal darts (or tucks) in the sleeve head exaggerate shoulder width even more. A very “late Thirties” detail.

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Filed under 1930s, Accessory Patterns, Coats, Companion-Butterick Patterns, Sportswear, Vintage Accessories

Boleros Part 3: Day and Evening, 1930s

A bolero jacket tops an evening gown, center, in this editorial illustration by Leslie Saalburg, Delineator, November 1931. The Nineteen Thirties’ bolero was often used with evening wear…. [But boleros continued to be a daytime option, too.] If not actually used as a separate jacket, a bolero might be suggested….

Left, Butterick 4093 from October 1931; right, a vintage dress circa 1929 -31 has the same bolero effect built into its bodice.

Butterick 4093: the width of the bolero enhances the slenderness of the waist and hips. This bolero “runs to a point at the back, is split and tied with a bow.”

A bolero built into the dress contrasts with the slender hips and belted waist. Butterick 3696 from Delineator, February 1931.

This pattern for a tied bolero reminded me of a vintage tied jacket (not a bolero) that I also love.

Right, a bolero for evening is tied at the waist. (Usually, but not always, daytime boleros were tied near their neckline.) Butterick 3460, Delineator, October 1930.

Although this vintage velvet jacket is hip-length, not a bolero, the tie at the waist has the same effect.

Vintage 1930s evening jacket with front-waist tie and dolman sleeves.

The sleeves taper from very full to tight at the lower arm.

This 1931 lamé evening jacket stops at the waist, like a bolero, and has curved fronts, like many boleros — but the word “bolero” is not used:

Another glamorous, but simple, waist-length evening jacket. Butterick 4076 from September 1931. Delineator.

The fad for huge, ruffled “Letty Lynton sleeves” can be seen in this bolero from 1933:

Bolero illustrated for a fashion column, Delineator, April 1933.

In 1936, boleros over evening gowns added versatility to the fashions, which could be worn with or without the jacket, creating two different looks.

A bolero with a long, twisted tie changes this evening gown from daringly bare (left) to chic but modest; the covered-up look was suitable for dinner and night-clubs. Vogue 7507, from Ladies’ Home Journal, November 1936.

[It’s also a reminder that a gown which appears to be black and white in a movie might really be green, or some other intense color.]

A white gown could be “dressed down” for dinner by a colorful bolero jacket. LHJ, July 1936.

This gown in soft silk or chiffon with printed green organza [or some other fairly stiff fabric] has a low back, covered on a cruise ship by a hooded bolero. Convenient for moments when you step out onto the deck in the moonlight. LHJ, February 1936.

Another article on cruise wear also emphasized the bolero jacket — by packing several boleros, you only needed to pack one long evening gown.

Butterick 7407 shows a halter dress in sheer blue printed fabric — topped with a white bolero. Woman’s Home Companion, June 1937.

From a fashion editorial describing a Companion-Butterick cruise wardrobe. WHC, June 1937.

Below right: this sheer bolero over an evening gown appeared in Ladies Home Journal, July 1936:

Vogue 7403, 7369, and 7386. LHJ, July 1936. A corsage doesn’t have to be worn on the shoulder…. Click here for a closer view of the bolero.

Right, a dignified lace dress with matching bolero; Butterick 7998 from 1938. Butterick Fashion News flyer.

That lace gown is probably for mature women, since the size range is 34 to 52 inches (bust.) But evening gowns for teens also showed them with bolero tops.

A bolero tops a prom dress; WHC, May 1937.

A long dance dress for teens, with bolero jacket. Butterick 7354.

This reminds me that wedding dresses for church ceremonies — and prom dresses in conservative schools — could not reveal bare arms (at Roman Catholic weddings) or have strapless tops or “spaghetti straps” as late as the 1960s, so this jacket would satisfy the chaperones. A girl could take it off when she was alone with her date….

Butterick evening gowns, August 1938 pattern flyer.

Butterick 8004, left, and Butterick 7997, right, with removable bolero top. The bodice of 8004 (“molded to slim your waist”) has a sort of false bolero effect, being larger than the gown below it.

Buttterick 8004, 7997, and 8010. BFN, August 1938. No. 8004 was available in sizes for teens and for women up to 44″ bust. The two on the right are for Junior Misses, up to bust 38.”

Another bolero with coordinating evening gown, left, Butterick 8461, from July 1939. BFN.

A Junior Miss evening gown with bolero jacket. From Butterick Fashion News flyer, July 1939. ” ‘Straps’ on the dress tie in a halter effect….”

However, older women might also buy a pattern that included the versatile bolero in 1939.

Right, Vogue 4128, Vogue Fashion Flyer for May 1939.

Designer Lucile Paray was featured in an article about Paris fashion revivals (i.e., “retro-inspired) — like leg-o-mutton or “Directoire” sleeves — in 1937. Paray’s evening suit was inspired by the turn of the century garment (with bolero) illustrated beside it.

Lucile Paray designer evening suit; illustrated for Woman’s Home Companion, December 1937.

The bolero doesn’t get much simpler than this one, from June, 1937:

Butterick 7405, an evening ensemble with bolero jacket, Woman’s Home Companion, June 1937.

Meanwhile, bolero jackets for daytime use were also seen throughout the Thirties.

In fact, Butterick 7405 had many casual and sporty variations for daytime!

Boleros were not just for evening wear in the 1930s. Click here for more about 7405.

To be continued as “Boleros Through the 1930s, Part 4.”

 

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Filed under 1930s, 1930s-1940s, Coats, Coats, Vintage Accessories, Vintage Couture Designs, Vintage Garments: The Real Thing, Vintage Styles in Larger Sizes

Boleros 1930-1931, Part 2

Clothes for college girls, Delineator, September 1930. Center is bolero suit 3412.

In Part 1, I mentioned the 1930 bolero as an option for older women who were not yet completely comfortable with the higher waist and figure-revealing new Thirties’ fashions. However, the bolero jacket (or, in some cases, a dress that gave the illusion of a bolero) was also worn by young women. Not to mention pajamas!

Hostess pajamas with a bolero top — and similar pjs for “little sister” were featured in the Christmas suggestions; Delineator, December 1930.

A “youthful” bolero suit (3562) and an interestingly tucked wrap dress (3548) from Delineator, December 1930.

These patterns came in the full range of normal sizes: ages 14 to 18 (teens and small women) and 32 to 44 inch bust measurement. “Boleros continue, for smart women simply won’t give them up.”

A short, removable bolero is featured in this suit from July, 1930. Butterick 3323.

Another bolero look from July 1930, Butterick 3315 has a false bolero “effect” in front, actually part of the dress.

Left, Butterick 3209 has a long, 1920s’ cardigan jacket, but Butterick 3242, right, has a bolero that reaches just below the waist. The two-tone bodice top creates a long line and draws attention upwards to the face — always a good idea for theatre/opera costumes.

Three different dressy approaches to the jacket ensemble, from May 1930. Butterick patterns from Delineator magazine. The bolero tied at the waist (left) appeared in evening ensembles in 1931.

Butterick 3323 has a formal afternoon look to me, but the description suggests that the bolero jacket is considered less formal than the short-sleeved dress beneath. May 1930.

Butterick 3229 is a more formal, lace ensemble, “equally smart at tea or dinner.” The jacket has a sleeveless dress under it. 1930.

A year later, boleros also appeared with more casual wear.

Some of these are cotton day dresses; the two at right have bolero jackets. May, 1931.

Butterick 3784 (left) is a bolero jacket and skirt pattern, with separate blouse. At right, dress 3759 is shown in paisley print with a false bolero jacket. Delineator, April 1931.

Confused? Here are the back views of the real bolero (suit with blouse) and the false bolero (3759, right.)

Even more casual, Butterick 4229 is described as a house dress with removable bolero.

Three house dresses — one with a removable bolero — Butterick 4229. Delineator, December 1931.

Next: Part 3. The bolero used with evening wear.

Part 4: More Boleros from the 1930s. (They kept appearing!)

 

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Filed under 1920s-1930s, 1930s

Bolero Jackets 1930-1931, Part 1

This nearly-timeless jacket came with many pattern variations.

The 1920’s bolero was not always above the waist in length, [click here to see several examples] and this pattern is from the early Thirties.

Alternate views of Butterick bolero pattern 3224. Fronts could be curved or squared (see dotted lines,) open or closed with a bow. Delineator, May 1930.

Delineator, May, 1930, p. 113.

I was initially struck by how modern this “little jacket” looks. If I found it in a thrift store, I would have guessed it was much more recent than 1930. I can imagine it worn with skinny jeans or a knit dress.

Butterick’s Delineator magazine showed many bolero jackets during the transition from low-waisted Twenties’ to natural-waisted Thirties’ dresses. Oddly, the bolero was recommended as a way to camouflage the natural waist for women who felt insecure about showing their figures.

Butterick 3413, September 1930.  “The Reason for Boleros” was that they distracted from the new waist line.

“Designed for [ages] 4 to 18 and for 32 to 44 [inch bust.]” Frankly, any woman whose waist looked like that illustration was probably not too worried about it. However, the design does avoid having a belt at all.

“Boleros and Blousing Are a Great Help.” Boleros were recommended for women self-conscious about the new, defined waist. Delineator, September 1930, p. 104.

Butterick 3409, Delineator, Sept. 1930, p. 105. “The shaped bolero makes it an easy frock to wear….”

Butterick 3435 has a false bolero effect, with the bolero in the back only.

Butterick 3174 (at left) has a bolero over a sleeveless dress, while 3177 (at right) has a matching jacket. Delineator, April 1930.

“The bolero makes the normal waistkine possible for any figure, for it conceals that difficult line at the back. [I didn’t expect that reason!] This bolero is detachable….”

Left, evening dress 3020 has a sheer bolero over a simple princess-line dress; far right, 3074 has a strip of fabric pretending to be a bolero. Delineator, February, 1930.

“Peplums and Boleros Give Youthful Lines.” Butterick 3020 has a “tied, sleeveless bolero” that falls far below the waist in back. Butterick 3074’s “corsage flares partially concealing the narrow belt in front make the high waist-line  more wearable.”

Another “bolero effect:” Butterick 3529 is recommended for a sewing beginner! “The bolero effect is obtained by a stitched-on band” decorating an otherwise simple dress.

Another “not-really-a-bolero-jacket” is part of Butterick dress 3391; “Bolero fronts, bloused back.” Delineator, September 1930, p. 31.

The dress below, with a short bolero, was featured in the same issue of Delineator as the longer, ruffled bolero at the top of this blog post.

Butterick 3006 appears to have a separate, short bolero in front, which may or may not dip below the (new, high) waistline in back. Delineator, January 1930, page 29. The sleeves of the bolero “flare in three-quarter length over those of the frock itself.”

The bolero — real or suggested –remained in fashion through 1931 — more about that later.

MunsingWear pajama ad, Delineator, 1931. The One Piece Bolero Pajama.

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Filed under 1920s-1930s, 1930s, Accessory Patterns, Coats, Nightclothes and Robes

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

Serendipity: 1933 Wedding Gown & Its Rare Pattern

Left, Butterick Starred Pattern 5299, a copy of the wedding dress worn by actress Helen Twelvetrees in Disgraced; right, a vintage wedding dress made from this pattern.

Some time ago I wrote about Butterick Starred Patterns. As far as I know, only twelve Starred Patterns were issued; they were exact copies of movie costumes by top film designers.

https://witness2fashion.files.wordpress.com/2016/02/1933-june-p-63-bette-davis-500-5204-5215-5212-5214-page-top1.jpg?w=500&h=451

Left, still photos from a Bette Davis movie; lower right, two Butterick “Starred” sewing patterns that are exact copies of her costumes. Delineator, 1933.

https://witness2fashion.files.wordpress.com/2016/02/1933-aug-p-53-helen-twelvetree-500-top-5297-5299-wedding-travis-banton-des-ctr.jpg?w=500&h=458

Star Helen Twelvetrees modeled a wedding gown designed by Travis Banton in this Paramount movie. Delineator, 1933.

Wonderful Liza D at Better Dresses Vintage recently acquired a vintage wedding gown …

Vintage wedding gown discovered by Liza D, photographed on a very tall mannequin.

…along with the Butterick pattern used to make it.

Butterick Starred Pattern 5299, from 1933. Someone wrote “Dots Wedding Dress” on it. (Dot = Dorothy)

Back of Butterick pattern 5299, used with permission of Better Dresses Vintage.

Image from the Deltor (sewing instructions sheet) inside the pattern envelope. The corsage hides the shirring (“gathers”) on the bodice.

Shape of pattern pieces from the back of the envelope.

I am very grateful that Liza shared these photos with me! As if that connection with a rare Butterick pattern weren’t enough, this was the “cherry on the cake:” the bride had torn a page from Delineator magazine on which this wedding dress was illustrated, and saved it inside the pattern envelope!

Liza D found this page from Delineator, September 1933, folded inside the pattern envelope.

Here is a clearer image of that wedding gown illustration.

Butterick 5299 wedding dress illustration from Delineator, September 1933.

It was originally featured in an article which showed the gown as worn in the movie — these illustrations come from Delineator’s August 1933 issue:

5299 pattern illustration from August, 1933.

Helen Twelvetrees models the wedding gown designed by Travis Banton. Delineator, August 1933.

Liza realized that “Dot’s Wedding Dress,” as it says on the pattern envelope, was made for a small woman, not the six-foot fashion mannequin she originally photographed it on. (Look at the sleeve length:)

The dress on a too-tall mannequin; those sleeves should be wrist length.

… so she asked her 14-year-old daughter to try it on. Her daughter is 5’2″ and the dress is lovely on her:

The 85-year-old dress on a model the right size is still beautiful. Cream colored satin dresses were a chic Thirties’ choice.

Puffy “Directoire” sleeves made a comeback in the early 1930s.

It’s not often that a vintage gown can be dated this precisely when we don’t even know the full name of the bride, or her wedding date. [Edit 1/27/19: Liza says, “I know the bride’s name and who she was, because I asked the family I acquired it from. She was their mom’s cousin. Yes, I’ve asked them to share a photo of her in it if they come across one.”  We can hope!]  We do know that she read Butterick’s Delineator magazine 🙂

Butterick 5299 was used for this 1933 wedding dress, beautiful enough for a movie star.

Liza D says it was made without a train, “perhaps for an in-home or informal wedding? There was no veil included.”

I am very grateful that Liza D remembered reading about Butterick Starred Patterns in this blog, and that she was willing to share these photos of her unusual vintage find! Check out this dress (and the pattern) and her other items for sale by clicking here. Thanks to her daughter, too.

P.S. If you missed my five posts on Starred Patterns, here they are: (Sorry I about the font size!)

Butterick Starred Patterns: Actual Fashions from the Movies (Part 1)

Bette Davis wears designs by Orry-Kelly.

Butterick Starred Patterns Part 2: Kay Francis in The Keyhole

Also designs by Orry-Kelly.

Butterick Starred Patterns Part 3: Mary Astor

More designs by Orry-Kelly.

Butterick Starred Patterns Part 4: Katharine Hepburn and Helen Chandler

Designs by Howard Greer.

Butterick Starred Patterns Part 5: Helen Twelvetrees Wears Travis Banton

 

 

 

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Filed under 1930s, Dresses, Vintage Garments: The Real Thing, Vintage patterns from the movies, Wedding Clothes