Tag Archives: 1930s styles

White Dresses for Summer, July 1931

“First Comes White — Then White with Color;” page 25 of a two-page article in Delineator, July 1931.

White dresses — and white with color accents — were the topic of a two page article in Delineator magazine in July 1931. It even included a white coat for summer:

Butterick coat pattern 3964 was a double-breasted polo coat with raglan sleeves. Delineator, July 1931, page 25.

It was described as a polo coat, and camel’s hair twill was suggested, although pale beige or pastels could be substituted for natural camel color.

1931 is not far from the late 1920’s, so it’s not surprising to see a lot of nineteen twenties’ hipline interest combined with a nineteen thirties’ natural waist.

This summer dress, Butterick 3949, combines white with color. I thought the tennis racket just signalled “summer,” but she’s wearing athletic shoes, too. Delineator, July 1931, page 24. The “white for tennis” idea didn’t apply to casual games.

Butterick 3979 has an unusually long, curved yoke on the skirt front. Delineator, July 1931, page 24.

This skirt was only pleated and yoked in front; the entire back of the dress is one piece.

This dress has a clever horizontal line (yoke and short sleeves) making the upper body look wider, in contrast to narrow 1930’s hips, accented with strong vertical lines in the skirt.

The curving seams on Butterick 3993 give it a dressy look to me, and in spite of the tennis racket, she is wearing pumps, not tennis shoes. Delineator, July 1931, page 24. The elaborate cut of this skirt is repeated in back.

“It is the perfect frock either for playing or spectating;” I think silk shantung would be a “spectating” fabric.

Butterick 3999 is sleeveless, double-breasted and loosely bloused. Delineator, July 1931, page 24. The back view shows short sleeves.

On this dress, the flares of the six gored skirt are repeated in the back.

Financial constraints during the Depression made Delineator magazine switch to smaller and less elaborate illustrations than the glorious full color fashion pages of the mid-1920’s.

Butterick 3956 has a 1920-ish look, with its long “weskit” style bodice and yoke, but it is from Delineator, July 1931, page 25. Optional short sleeves.

“…For any sporting event — for action or the sidelines. It’s all-whiteness fairly cries for the addition of the boldly bright accessories that will ring changes in the simplest little outfit this year.” Transforming a dress with accessories was a frequent theme in the Thirties.

Butterick 3995 has a surplice-line wrapped front. Delineator, July 1931, page 25. There is a long sleeved version, too.

A vestee (a partial blouse) is usually separate from the dress, and the colored cuffs might be detachable for laundering.

All of these patterns were available in what was then the normal range of sizes for women: bust 32 to 44 inches, with hips correspondingly bigger.

Butterick 3954 shows some vestiges of 1920’s styles. Delineator, July 1931, page 25.

Butterick 3973, a simple “utility” dress, accessorized with a golf club. Delineator, July 1931, page 25. Optional short sleeves.

Butterick 3981, a white dress accented with nautical embroidery, a colorful striped scarf and matching belt. Delineator, July 1931, page 25.  Does it have a dark binding around the neckline and armholes? From the small drawing, it’s hard to tell. Short sleeve option,

It’s undeniable that white accents a summer suntan (chic in 1931) and looks cool and fresh on hot days.

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

A Trip to Mount Lowe, 1920’s

I found this souvenir group photo of a trip up the Mount Lowe electric railway, apparently taken in the late 1920s.

A group photo of visitors to Echo Mountain, on the Mount Lowe scenic railroad. Late 1920s.

“At the top of the incline was perched Charles Lawrence, the official photographer, on a special scaffold from which he would take pictures of the arriving visitors.[30] For 25 cents, visitors could purchase a souvenir photo of their arrival on the incline car, with everyone else aboard, of course.” — From Wikipedia, which has a thorough history and some excellent images. Click here.

Front cover of Mount Lowe souvenir photo from the late 1920’s.

The scenic railway provided views of Los Angeles, thousands of feet below. Between 1925 and 1936, there was a restaurant/tavern on the summit. (It burned down.)

Inside cover of Mount Lowe photograph. Late 1920’s.

Parts of the rail trip would definitely result in an adrenaline rush: click here.

Of course, what fascinates me are the faces and clothes of this group of ordinary people on holiday — even if it’s just a day trip. Thanks to the magic of computer scanning and photo enlargement, (and the sharpness of Lawrence’s original photo) we can see them in some detail.

I’ve cropped the picture to show just the people. Echo Mountain, Mount Lowe, 1920’s.

I was about to mention that all the women are wearing hats — until I saw one who isn’t: my mother.

Top row, from left, my mother’s mother, her aunt Alice, and, Marcelle-waved but hatless, my mother.  Notice her “bee-stung” lips. The woman in the pale cloche wears a necktie, and so do other women, as you’ll see.

A group from the top right side of the photo. We see several women wearing horn-rimmed glasses, which were replacing glasses with thin gold or silver rims — or no rims at all. The woman at center wears the older stye of glasses.

It’s apparently summer, since many men wear light colored hats or boaters. Women are evenly divided between cloche hats and hats with brims. Love that striped sweater!

The center of the photo. The boy in the front row also wears a lively, patterned sweater.

At the back, we see a boy in a cloth cap (a big one) next to a woman in a turban-like hat; 1920’s printed dress fabrics include the Art Deco one at right. The man’s tie is short, stopping inches above his waist.

Another short necktie, and a pleasant-looking woman wearing horn rim glasses and a ribbon-trimmed dress.

A good sample of hats — and a woman who clearly wore large sized dresses. The striped hat on the right is my favorite — and it’s worn by a mature lady in a print coat.

I like this dignified older couple. (The girl in the middle doesn’t seem to be having a good time.)

The gray-haired woman in the light-colored cloche at lower right must have seen many changes in fashion during her lifetime — and she’s adapted well.

In the front row we can see a variety of hem lengths, depending on age and taste. Late 1920s.

The older woman at left has a long hemline (and I think her slip is showing,) while the mature but stylish woman on the right shows her legs up to the kneecap.

In this group, the woman on the right wears a shorter skirt than the oldest woman pictured above, but not as short as the woman in the Art Deco print dress. The young girl has bare legs and exposed knees. The boy proves that not all great sweater and knicker combinations were reserved for the golf course.

Hope you enjoyed the trip! Visitors to Mount Lowe in the late 1920’s.

A similar crowd photo, found on Flicker, is dated 1922. It includes four young women woman (front row, far left) in hiking trousers and boots. The ruins of the Mount Lowe Railway are a hiking trail today. It is near the city of Altadena, California.

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Filed under 1920s, 1920s-1930s, Children's Vintage styles, Hats, Hats for Men, Men's Haberdashery & Accessories, Menswear, Old Advertisements & Popular Culture, Vintage Accessories, Vintage Garments: The Real Thing, vintage photographs, Vintage Styles in Larger Sizes

Great Aunt Cora: From Victorian to 1930s

EDITED 4/14/2018: Well, this is awkward…. Weeks after writing this post, based on photos identified by my late Aunt Dot, I finally located information about when my Great Aunt Cora and her sister Laura died. Cora, Mrs. McGarvey, died on December 31, 1924. Laura, the city librarian, died in an automobile collision in 1936. That means that the woman in glasses in this photo, whom I identified as Cora, is actually Laura.

Cora [Laura], an unknown man, and Alice, in the 1930s.

So it was Laura who wore short skirts in the 1920s, and horn-rimmed glasses, and worked outside the home for most of her life. Cora was not the merry — or at least, cheerful — widow that I thought she was. It was Laura who took road trips and adapted to changing fashions as shown in these photos.

This is definitely Cora, because she wrote the inscription on the back of the photo herself — “To Sister, From Aunt Cora.”

Cora as a young woman; there is a pretty comb or hair decoration in her bun. Her strong profile is one way I can distinguish her from her sister Laura, but it’s not always easy. [EDIT 4/17/18: No kidding! I often got it wrong — and so did my aunt, who still knew them when she was an adult.]

EDIT 4/17/18: Beyond this point — beware of unreliable identifications and deductions regarding Cora!

Left, my Great Aunt Alice; right, her older sister, Cora. Early 1900s. The unexpected bow in Cora’s hair may be an early indication of her un-stodgy fashion sense.

As I try to sort family photos, I am also trying to sort out their stories. At dinner last night, my husband gave me a strange look and said, “It’s hard to realize that you knew people born in 1875.” Well, I only knew them insofar as a child can know an adult, but I have vivid memories of my Aunt Alice in her seventies, still witty and clever. I wish I had known her older sisters, Cora and Laura.

Cora was the eldest, born in 1867.

Cora Barton as a child. She was born in California in 1867, the eldest child of five. [EDIT 4/17/18: this may not be Cora, in spite of what my aunt Dot wrote on the back of the photo. It was more common to photograph the firstborn child, especially if it was a boy: Cora’s brother Charles was born in 1862, when very young boys were sometimes dressed like this.]

When you think of the rapid change of Euro-American fashions in the 20th century (and before) it is extraordinary how often women had to adapt to new ideas — in clothing, and in concepts of modesty and propriety. [EDIT 4/17/18: At least this — the point of sharing all these photos — is true.]

Cora and Laura came into their teens in the era of outrageous 1880’s bustles. As the daughters of a Methodist Episcopal minister, they didn’t have a big budget, and it must have been important to look “respectable.” Here, they are reclining informally with a friend at a photographer’s studio:

Cora and Laura Barton with their friend Alice Mason. Probably late 1880s. [EDIT: No reason to doubt this photo — although the names of the sisters may not be in order….]

In 1920, she sent this old portrait photo of herself to her niece Dorothy, nicknamed “Sister” or “Sis” because she came along after two brothers. The back says, “To Sister, from Aunt Cora, July 1, 1920,” but the hair style is much earlier.

Cora as a young woman; there is a pretty jeweled comb or hairpin in her bun.

At the time of her marriage, the local newspaper reported that she had “had charge of the city library” for a number of  years. (Did they confuse her with her sister Laura, or did one replace the other as librarian?) [EDIT 4/17/18: Maybe everyone had trouble telling them apart?]

[Probably] Cora — who became Mrs. William McGarvey in 1896 — sitting on a porch hammock; probably early 1900’s.

She is wearing a shirtwaist with a collar that could accommodate a mannish, detachable stiff collar. They often appear on turn-of-the-century American women drawn by Charles Dana Gibson.

And she looks very sad.

Cora Barton McGarvey [EDIT: or this could be Laura….] in a shirtwaist blouse. I don’t have the expertise to date it precisely. This is one of the few pictures in which she looks like the eldest of the three sisters.

EDIT 4/17/18: Anything about Cora from this point on is suspect; she was married to Mr. McGarvey; the 1900 census information is correct; but she is not the woman identified as Cora in these photos.

I can’t say that her marriage was an unhappy one, but, as you will see, widowhood seemed to suit her. In the 1900 census, her two adult sisters were living at the same address as the McGarveys. William McGarvey, accountant, was listed as head of household, Cora as wife, and her sisters Laura and Alice as “servants.” There was one male “servant” or farmworker, and no mention of children. Cora’s husband died in 1918.

In the 1920 census, Cora was a widow, Laura was the city librarian, and Alice was a clerk at the county courthouse. Laura was listed as head of household, and her sisters were listed as her “partners.”

At 54, Cora [no, Laura], top left, looks quite fresh and modern in her checked dress in this photo from 1921. Her youngest sister, Alice, is holding their baby nephew. Do Cora and Laura [No, Cora] (in sweater) have cropped hair? It’s more likely that they have just cut bangs.

From this point on, Cora [Laura] wears glasses — and not “old lady” wire-rimmed glasses — “modern-in-the-twenties” horn rims.

Cora [No, Laura] eating watermelon on a road-trip vacation, 1920s.

Here’s another photo from the same vacation:

My mother, center, flanked by, on the left, her Aunt Alice (born in 1875) and right, her Aunt Cora, (born in 1867)  [EDIT: no, it’s Laura, born in 1869] climbing a hillside on their trip to Catalina Island, 1920’s. They don’t look at all like the stereotyped older women in 1920’s advertising or movies — no long skirts, no dark dresses, no lace collars. (However, their skirts are not as short as their 20-something niece’s.)

A reminder of the drastic changes in fashion they experienced —

Here are Cora [?] and Alice as they looked in their thirties:

The Barton sisters wearing the “pouter pigeon” look of the S-Bend era, probably before 1910.

And here they are in their fifties:

Left, Alice (b. 1875;) center, their sister-in-law, also born in 1875; and right, Cora, born in 1867 [EDIT: It is Laura, born in 1869.] These “late Victorian” women have all adopted short skirts and bobbed hair during the 1920’s.

And they kept right on wearing up-to-date clothing. Here, they have even adopted sleeveless dresses — these women who grew up wearing high collars, long sleeves, and floor length skirts.

Cora, an unidentified man, and Alice, in the 1930’s. [CORRECTION: Laura, probably her brother John, and Alice — the three surviving siblings. John died in 1934.]

They looked like they were having a good time on that vacation with my mother….

Cora [No, Laura], on the left, enjoying watermelon from a roadside stand, 1920’s. Cora/ Laura almost seems to be flirting with the camera. My mother is on the right.

I liked Cora’s playful pose so much that I tried to paint her:

“Watermelon Stop No. 2”

I wish I’d known her.

Cora, a sister-in-law, Laura, and Alice dressed as hoboes; note the little brown jug in Cora’s hand. Probably before 1910. [Edit: Or: Laura, a McGarvey sister-in-law, Cora, and Alice.]

P.S. If the story of fashion for older women interests you, be sure to visit the American Age Fashion blog.

 

 

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Filed under 1860s -1870s fashions, 1870s to 1900s fashions, 1920s, 1920s-1930s, 1930s, Children's Vintage styles, Costumes for the 19th century, Hairstyles, Late Victorian fashions, vintage photographs

Also Very Thirties: Great Big Collars

Butterick dress 5391 from March 1934 has a great big collar with matching cuffs. Delineator magazine.

A while ago I posted a collection of fashions that featured over-sized bows, which were “Very Thirties.” Today’s featured nineteen thirties’ look is Great Big Collars.

Great big collars didn’t necessarily have that “Puritan” look, but many of them did.

Butterick 5688 from Delineator, May 1934.

Butterick 5870 claimed to be based on a design by Lanvin. (I wouldn’t care to sit for long on all those big, big buttons….) Left, illustration from Delineator, September 1934, Right, photo of the pattern constructed, from Delineator, August 1934.

Digression EDIT 3/18/18: In response to a question from Christina, I looked for more information on these two images, and found that, in August, the dress design was supposedly from Lanvin, and in September, it was attributed to augustabernard:

https://witness2fashion.files.wordpress.com/2014/02/1934-aug-p-62-lanvin-dress-pattern-7870-text.jpg?w=500&h=367

From Butterick’s Delineator magazine, August 1934, p. 62. “Jeanne Lanvin’s button-down-the-back dress….”

Pattern description of Butterick 5870 from Delineator, September 1934. This time, the design is supposedly inspired by augustabernard. I guess that answers the question I posed back in 2014: When Is a Designer Pattern Not a Designer Pattern?

End of Digression.

Photography was just beginning to be used in the less expensive fashion magazines. I love seeing the “fashion ideal” alongside the fashion reality. What an awkward pose that model has had to take!

The illustration on the left seems to show a double collar, which was definitely a fashion “thing.”

Versions of Butterick collar pattern 5952, Delineator, November 1934.

Collars and scarves could change the look of a dress for the office; Delineator, November 1934.

Butterick dress pattern 5854 has a double collar and “don’t order soup while wearing these” cuffs. September 1934. Photo by Arthur O’Neill.

Butterick dress pattern 4564 has a soft, sheer double collar. June 1932.

Butterick dress 5785 from Delineator, July 1934. This sheer double collar is probably a stiff organdy — which would be crushed by a winter coat.

Butterick dress 5854 has a double collar and double cuffs. Delineator, August 1934.

These collars would make any woman look like the perfect secretary or executive assistant.

Some collars could also be changed from one dress to another, which helped to make a small number of dresses look like a more extensive wardrobe. This was practical fashion for the Great Depression. [For other examples of changeable collars, see One Good Dress in the 1930s,  or   More Button-On Collars.]

Here are some Great Big Collars I have shown before, but these are clearer images:

A great big double or triple-layered collar, Butterick 4797, was featured in an article about “new life for old clothes.” Very timely, in December of 1932.

Another version of Butterick collar pattern 4797 from Dec. 1932.

A new collar was cheaper than a new dress, and several collars could make one dress seem like a larger wardrobe — this was during the massive unemployment of the Great Depression, after all.

This V shaped collar has a high neckline to cover whatever “antiquated” neckline was already on your dress or sweater. Delineator, December 1932.

This similar V-shaped collar was part of the dress:

This vintage dress with a great big collar reminds us that black and white images don’t always give a true idea of what was being worn.

Butterick dresses from November 1934. Delineator. One has a great big collar; one has a great big bow (two, actually.)

Not all great big collars were so attention-getting. These dresses were recommended for the college girl:

September 1931: a dress for college. Butterick 4058 has barely a trace of 1920’s fashion. Delineator.

Butterick 5812, another double-breasted dress for college, from August 1934.

Sometimes crisp and business-like, a big collar could also be soft:

This big collar is an important part of the dress’ asymmetrical design. Butterick 4564 from June 1932.

Butterick 4558 from June 1932 also has a surplice closing. Delineator.

This big collar appeared on an evening dress for women over forty:

Butterick 5924 — “smartness at forty’ =– uses its large, cape-like collar to camouflage upper arms. Delineator, November 1934.

Big collars were not just for grown-ups:

Butterick girls’ dress pattern 4416 from April 1932. Delineator.

And, remember, big collars did not have to be white:

A woman in a big, checked collar visits her butcher. [Prime rib was probably not on everyone’s menu in 1934.] Delineator.

Speaking of dresses for secretaries: I can never resist a plug for the pre-Code movie Baby Face.

Movie Recommendation: Baby Face, 1933
If you watch the movie Baby Face, from 1933, you’ll see Barbara Stanwyck in many variations of the simple dress with accessories, as she literally sleeps her way to the top. This is a Pre-Code picture, a lot more frank about sex than movies were 20 years later! (In some versions, it begins with this teenaged girl’s father clearly prostituting her to the patrons of his dive bar.) Armed with determination, cynicism, and a series of ‘secretary’ dresses, she works her way to the penthouse suite – and a much more glamorous wardrobe.

 

 

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Filed under 1930s, Accessory Patterns, Children's Vintage styles, Dresses, Old Advertisements & Popular Culture, Uniforms and Work Clothes, Vintage Couture Designs, Vintage Garments: The Real Thing, Vintage Styles in Larger Sizes

Summer Evening Gowns, 1936

Four Vogue evening patterns, Ladies’ Home Journal, July 1936.

Evening gowns were the topic of two articles in Ladies’ Home Journal, July 1936. One featured four Vogue patterns which women could make at home; the other was more inspirational, showing evening dresses and jackets, photographed in color by Edward Steichen.

Evening Gowns from Vogue Patterns, 1936

“We thought of Saturday-night dances and twilight roof-garden dining when we chose these delicious, simple summer evening dresses. Haven’t they the Vogue look about them — in their clear-cut lines,and their new fashion points?” — text from Ladies’ Home Journal, July 1936.

Vogue 7403, 7369, and 7386. LHJ, July 1936. A corsage doesn’t have to be worn on the shoulder….

“First we must tell you about that luscious blue shade. None other than “bluebonnet blue,” the official fashion color for the Texas Centennial this summer. We suggest one frock in this shade if you can wear it, preferable in marquisette or organdy. ”

The Dreamstress.com has a lovely, illustrated article about marquisette.

Butterick 7386, in bluebonnet blue, is “low-cut” but has a sheer bolero jacket cover-up. LHJ, July 1936.

“The low-cut dress No. 7386 has long-sleeved bolero jacket, giving the costume real versatility.”

Vogue 7403 has a tunic top. LHJ, July 1936.

“No. 7403, with its new tunic and tiny cap sleeves cut in one with the blouse is shown in flowered marquisette. It is ‘Easy-to-Make.’ You might prefer lace.”

Vogue 7369 is double-breasted all the way down, with the width of the front panel increasing. LHJ, July 1936.

“No. 7369 is double-breasted all the way down, and trimmed with saw-tooth edging, of embroidered organdy here. Any sheer crisp cotton would be nice.” Rickrack used so that only half of it showed was a popular trim in the mid-thirties.

Vogue 7403, 7369, and 7386. LHJ, July 1936.

Vogue 7400 was recommended for those who don’t feel comfortable in sheer chiffon or organdy. This evening gown can be made from cotton or linen. LHJ, July 1936.

“At least one girl in every crowd feels foolish in floating chiffon, or even organdy. For her, a tailored frock like No. 7400, in bird’s-eye pique or printed linen. You can see it’s an ‘Easy-to-Make.’ “

I appreciate the idea that not every woman wants to look soft and delicate.

In the same issue, photographer Edward Steichen was assigned a group of apparently store bought dresses (not credited) on models grouped around a piano. The two-page layout shows the fashion for very large scale prints. In 1936, women’s magazines like Delineator and Ladies’ Home Journal were still experimenting with photographs instead of fashion drawings, so this full-color spread was an expensive experiment.

Evening dresses photographed for Ladies’ Home Journal by Edward Steichen. July 1936, page 18. Like Vogue 7385, the one on the left has a matching jacket. The one on the right seems inspired by the early 1800’s — or a nightgown.

Large scale feathers were a popular fabric print, perhaps the influence of Elsa Schiaparelli. The cream colored dress has a sheer top layer. LHJ, July 1936, p. 18.

A large scale floral print dominates this gown in a burgundy/dark green combination that was popular. [I have childhood memories — 1940’s — of many gray- wine-and-dark-green drapery and upholstery fabrics, and a color print that seemed to appear in every motel….] The feature article on evening dresses was called “Midsummer Nocturne,” written by Julia Coburn.

On the facing page were two more large-scale print fabrics and what appears to be red marquisette or silk netting.

Three evening gowns photographed by Edward Steichen for Ladies’ Home Journal, July 1936, page 19. The red and the white dresses are very sheer, probably netting or marquisette.

Left, a large-scale floral print on a black ground is spectacular. With such a dramatic fabric, the gown can be very simple. The red gown has a modest layer of sheer marquisette fabric covering a minimalist under layer.  Large horizontal tucks give interest to the skirt. LHJ. July 1936, p. 19.

The combination of a bold, stylized floral design with a sheer white gown is interesting:

A bold linen jacket covers a delicate net dress. LHJ, July 1936, p. 19.

All the sleeves on these two pages are full and puffy at the shoulders — a hint that wide shoulders are  a  coming fashion.

Here is the text written by Julia Coburn to accompany these photographs.

The “white-coated gentlemen” would be wearing summer dinner-jackets:

An off-white, double-breasted dinner jacket worn with tuxedo trousers. Esquire, July 1934.

An off-white dinner jacket was illustrated using cut-outs of the actual fabrics in Esquire, July 1934.

For more about gentlemen’s summer evening dress, click here.

 

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Filed under 1930s, Vintage patterns

Fashion Transition: From 1920’s to 1930’s

https://witness2fashion.files.wordpress.com/2015/03/sears-hems-fall-in1929-1930-1931-500.jpg?w=443&h=500

Hem length from 1929 to 1931, from Sears catalogs. In 1929, the hem is above the kneecap; two years later it has dropped to mid-calf, and the belt has returned to the natural waist.

Higher Waists and Longer Hems

In 1929, hems were already on their way down. An article by Pamela A. Parmai at Love To Know cites an article in the New York Times from October 27, 1929 — two days before the Black Friday stock market crash — which said, “some women claimed that the effort to put them back in long skirts was ‘an insidious attempt to lure women back into slavery.’ ” Parmai implies that, since skirts had already been at the knee for two or three years, clothing manufacturers were eager for a change. It seems the stock market started down after skirts did.

“The waist-line continues to rise,” Delineator magazine, November 1929, p. 33.

However, in November of 1929, Delineator’s fashion editors weren’t completely focused on longer skirts; this article was about rising waists. [The lead time which put magazines in stores by November meant that articles and illustrations had to be ready long before the end of October, and the stock market crash on October 29th. Longer hems are mentioned, but not in the title of this article. ]

Butterick 2891 has a belt near the natural waist. November, 1929, Delineator.

The next dress has a two-layer skirt, with one layer ending above the knee (where dresses ended in 1928) and one below the knee, a transitional fashion to longer skirts.

Butterick frock 2923 from November 1929. Delineator. Note the belt, which is just at the hipbone [and I bet it didn’t stay there easily, even with belt carriers.]

This dress has “three of the very newest features:” greater length, higher waist, snug hips and a dipping hem. [Wait — isn’t that four? Not really. Dipping hems were well-established by 1928.]

Butterick 2924 shows a longer hem and a shirred waist that sits on the hipbone rather than the hip. Delineator, November, 1929. It covers the knees completely.

“The line is longer, as it must be this season,” and the waist line is higher.

[“Pans” is probably a typo for “Panels.”]

Butterick coat 2857 shown over dress (frock) 2903. Delineator, November, 1929. The rising girdle [hip band] is a subtle change.

“The higher waist-line is indicated on the frock by the girdle top.” The “girdle” is that band of fabric around the hips. It does look a little higher than these earlier “snug hips” of June 1929:

A snug-hipped dress and matching jacket from June of 1929, Delineator. Butterick 2646.

Back in June, 1928, these dresses showed a tight, low hip girdle:

https://witness2fashion.files.wordpress.com/2016/04/500-1928-june-p-32-2024-2068-color.jpg?w=215&h=500

Butterick patterns in Delineator, June 1928, show a low hip girdle, expecially the one on the left, which appears to be far below the hip-bone.

The elongated torso of 1920’s fashion illustration makes the waist hard to locate on this blouse.

Butterick blouse 2884 with wrap skirt 2745, from November 1929, Delineator. The blouse is gathered to the hip just below the natural waist –where many women’s trousers rested in the 2000’s.

Blouses from the early 1930’s (see below) were often overblouses, not too different from blouse 2884.

Butterick blouse 3968, July 1931.

Tunic Blouses for Transition — Again

https://witness2fashion.files.wordpress.com/2015/05/1924-dec-p-30-color-old-dress-btm.jpg?w=502&h=445

Tunic blouse outfits from Butterick; Delineator, December, 1924. Within three years, dresses were shorter than these “blouses.”

I do find transitional fashions interesting. Back in 1924 — 1925, these tunic blouses eased the transition to shorter hems by providing two horizontal lines — one near the knee (the coming fashion) and one at low mid-calf (the early Twenties’ length.)

I’ve found a few tunic styles easing the transition from late Twenties to early Thirties, too.

Butterick 3644, “the smart tunic line,” has a tunic ending near the knees over a longer 1930’s hemline. Delineator, February 1931.

The natural waist, accented by a belt, is taken for granted by 1931.

Right, below,  is a “tunic blouse” and skirt combination; this “blouse” is as long as a late Twenties’ dress.

Right, tunic blouse 3666 with skirt 3643; Delineator, February 1931.

The tunic blouse is shown in mid-thigh (back view) and knee lengths.

It’s surprising how brief the period of knee-length twenties’ fashion really was — as this cartoon from January, 1929 implies.

https://witness2fashion.files.wordpress.com/2015/06/1929-jan-cartoon-skirt-length-delineator.jpg?w=500

It’s more evidence that early in 1929, skirts were already on their way down.

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Filed under 1920s, 1920s-1930s, 1930s

Beach Pajamas for a Little Girl

Butterick 3801, Delineator, April 1931. Some rather sophisticated beach pajamas for girls aged 4 t0 15 years. These were definitely for outdoor wear — and how relieved little girls must have been to play in trousers instead of dresses.

Beach pajamas were worn by ordinary women in the Thirties, not just those who could afford vacations at resorts, the Lido, or the South of France. The Vintage Traveler shared images of beach pajamas from a 1930 Montgomery Ward catalog. (Montgomery Ward was a rival of Sears. It was not an upscale store — my uncle, the plumber, bought his overalls there.) Lynn at American Age Fashion just shared a 1933 photo of my family’s close friends in beach pajamas, with a wonderful eye for the differences between the generations.

These pajamas (or pyjamas) were intended for lounging, but many of them were worn as beachwear  if the fabric was not obviously lingerie material.

Butterick pajamas for big and little girls, December 1931. Left, 4177; right, 4223.

Beach pajamas were so important that even dolls needed them.

Butterick doll wardrobe pattern 440, Delineator, December 1931.

These pajamas were sleeveless, like the ones on the little girl in this painting, and trimmed with bias tape.

A little girl wears beach pajamas in this painting based on a 1930’s photograph. Detail, “Bobbie with Marbles.” Used with permission of the artist.

McCall doll clothes pattern 525 from 1937, with the original photo on which the painting was based. Both outfits have bias tape binding.

Butterick girl’s play pajamas, No. 5181, from 1933. The dots make them look a bit clown-like, and the ruffles are sheer organdy, more for lounging than sleeping..

“Cotton pajamas are one of the most practical things in the world to play in;” cotton is appropriate for the beach, but shantung seems more like an indoors lounging option [and rather sophisticated casual party wear for a girl aged 2 to twelve.]

The dots and ruffles are not so different from these lounging pajamas for grown women:

https://witness2fashion.files.wordpress.com/2015/08/1931-sept-p-86-undies-pjs-4014-3937.jpg?w=301&h=500

Lounging Pajamas, Butterick patterns 4014 and 3937. Delineator, Sept. 1931.

 

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Filed under 1920s-1930s, 1930s, Children's Vintage styles, Sportswear, Vintage Garments: The Real Thing, vintage photographs, Women in Trousers