Tag Archives: butterick 2287 evening dress 1920s 1928 twenties

Formal Frocks for the Holidays, December 1928

Two Formal Frocks from Delineator, December 1928. Butterick patterns 2379 and 2287.

Two “Formal Frocks” from Delineator, December 1928. Butterick patterns 2379 and 2287.

If you love a challenge in sewing chiffon, Butterick 2287 looks like a great opportunity. (I believe those flounces were were curved, which means they’d start stretching the minute you removed them from the pattern paper.) Hems were still short in 1928, but some formal evening gowns were long — in places:

Butterick evening patterns 2347 and 2367, Delineator, December 1928

Butterick evening patterns 2347 and 2367, Delineator, December 1928.

Many late twenties’ hemlines combined long and short looks. (Click here for more examples.) For young women, a fuller skirt was also an option.

Butterick 2366, evening or bridesmaid's gown for young women. Dec. 1928.

Butterick 2366, evening or bridesmaid’s gown for young women. Dec. 1928.

2366-text1928-dec-p-33-formal-evening-text-2347-2367-2379-chanel-2287-2366-lingerie-strap

The shorter, close-to-the-body under layer is visible through the sheer tulle top layer. This dress is also notable for the bareness of its shoulders.

2366 has "lingerie straps;" usually these slip straps were only visible when veiled by a more substantial chiffon or lace dress shoulder, as in Butterick 2287.

Butterick 2366 has “lingerie straps;” usually such thin straps were only visible when veiled by a more substantial chiffon or lace dress shoulder, as in Butterick 2287. December, 1928.

Such thin straps were previously seen on slips and chemises, so using them to hold up a dress was provocative. The girl who wore No. 2366 as shown was presumably not wearing any underwear above the waist, although she could opt for the more conservative, sleeveless version of the dress as shown in the back view. A metallic tulle (see-through) skirt with a metallic tissue lame bodice would have made a less demure gown than the model’s expression suggests. Another lingerie strap evening dress was illustrated in February of 1929.

Butterick 2387 is meant to flutter. Dark fabrics are suggested, which does not rule out red....

Butterick 2387 is meant to flutter. Dark fabrics are suggested, which does not rule out shades of red…. December 1928.

2287-text-1928-dec-p-33-formal-evening-text-2287

The ripple of such flounces is achieved by cutting them on a curve.

Butterick 2379 , with a long “bustle” drape in back, supposedly shows the influence of Chanel.

Butterick formal evening gown pattern 2379; Dec. 1928.

Butterick formal evening gown pattern 2379; Dec. 1928. Note the very low back.

2379-text-1928-dec-p-33-formal-evening-text2379-chanel

The long end of the bow “gives the one-piece frock an uneven hem and a down-in-back movement…. The low flare of the tiers [is] in the Chanel manner.” Such bustle bows were seen in 1928 and into the early thirties; The Vintage Traveler recently shared a photo of one originally made in 1932.

Also influenced by Chanel was this “minaret” gown (which looks more like a pagoda to me):

Starched lace stands away from the body in Butterick formal evening dress No. 2347. December 1928.

Starched lace stands away from the body in Butterick formal evening dress No. 2347. December 1928.

2347-text1928-dec-p-33-formal-evening-text-2347

Delineator had illustrated a similar tiered lace dress by Chanel in November:

Lace dress by Chanel, illustrated in Delineator, Nov. 1928, p. 114.

Lace dress by Chanel, “stiffened at the edges,” illustrated in Delineator, Nov. 1928, p. 114.

It’s interesting to think that some (now) droopy, vintage lace gowns might once have been stiffened like these.

Butterick 2367 is asymmetrical, long in places, shown in a metallic brocade fabric, and graced with two enormous, back-to-back fabric flowers at the hip. (Note the very short, close-to-the-head hairstyles in some of these illustrations.)

Butterick evening gown 2367 from December 1928. Delineator.

Butterick evening gown 2367 from December 1928. Delineator.

2367-text1928-dec-p-33-formal-evening-text-2367

This dress seems to be gathered — or more probably ruched, like its flowers — at the side seam under the bow. (Perhaps an underslip supported the weight of this trim?)

The same December issue of Delineator magazine illustrated many beautiful evening shoes to wear with these gowns. Click here for “Dancing Shoes, December 1928.”  And I never get tired of Designer watches from the late twenties. Click here for diamond evening watches, and here for sporty Art Deco Designer watches in color.

Best wishes to everyone who plans to party like it’s 1928! (Oh, wait…. 1929 wasn’t such a good year…. Let’s just set the time machine to 1928.)

Note: I have shown some of these dresses before, but without the details or accompanying descriptions.

7 Comments

Filed under 1920s, 1920s-1930s, Hairstyles, Tricks of the Costumer's Trade, Vintage Couture Designs, Vintage patterns

Flounces, Tiers, and Great Big Bows; 1928-1929

This is a variation on my “Hems Going Down” posts. (Part 1:  1926)  (Part 2:  1928.) While collecting images of 1920’s dresses with high-low hemlines, side drapes, back drapes, and handkerchief hems, I realized that I had quite a lot of pictures of late twenties’ dresses with tiers of flounces, often sharing a page with dresses that feature gigantic bows which flow into side drapes, etc.

Formal Frocks for tthe Holidays, Delineator, Dec. 1928. Butterick patterns 2347 & 2367.

“Formal Frocks for the Holidays;” Delineator, Dec. 1928. Butterick patterns 2347 & 2367.

Paris led the way, with couture frocks of increasing complexity. This simple, flounced, formal gown is by Chanel:

Formal gown by Chanel, illustrated in Delineator, Nov. 1928.

Formal gown by Chanel, illustrated in Delineator, Nov. 1928.

“This frock, stiffened at the edges, embroidered with chenille, is black net. From Chanel.”

So is this much more complicated red gown, trimmed with a huge bow:

Velveteen evening frock from Chanel, illustrated in Delineator, Nov. 1928.

Velveteen evening frock from Chanel, illustrated in Delineator, Nov. 1928.

“Velveteen is now an evening fabric. Chanel has chosen it in red in a very stiff quality for this frock.” The complexity of that cut would be daunting for a stitcher, in any fabric!

Evening gown by Lucien Lelong, illustrated in Delineator, Nov. 1928.

Evening gown by Lucien Lelong, illustrated in Delineator, Nov. 1928.

“This is the new tulle frock of the winter — it is all in tulle, from flowers to hemline. Lelong.” Note Lelong’s  indecision about the waistline, with the dress’ belt lower than the waist of the slip.

Evening dress by Vionnet, illustrated in Delineator, Nov. 1928.

Evening dress by Vionnet, illustrated in Delineator, Nov. 1928.

“White chiffon and the glitter of white strass and crystal beads are used by Vionnet for this frock.” ‘Strass’ refers to a type of rhinestone. The skirt looks heavy with beading, and it seems to have a draped (cowl) neckline.

Evening dress by louiseboulanger, illustrated in Delineator, Nov. 1928.

Paris evening dress by Louiseboulanger, illustrated in Delineator, Nov. 1928.

“Here Louiseboulanger has revived old-fashioned brocaded satin in brilliant yellow.” [Louise Boulanger’s design house used her name as one word, frequently all in lowercase letters.] Note the enormous amount of fabric used in the side drape — perhaps as much as used for the dress itself!

These dresses by Chanel and Lelong illustrate the accompanying text from The Delineator:

Chanel, left and Lelong, right. Illustrated in Nov. 1928.

Chanel, left and Lelong, right. Illustrated in Nov. 1928.

“The full skirt  . . . drops at the back in a graceful point almost touching the floor, with a molded bodice cut higher than the slip, giving the effect of a transparent yoke of lace or chiffon . . . . The skirts, almost without exception, have an uneven hemline, and while the favorite movement is toward the back, there are many which have a diagonal line with a deep point on one side. [Like the Vionnet.]

If there was any doubt about how quickly Butterick’s Paris office could translate designer fashions into patterns for its customers, here are six Butterick patterns which appeared in that same November 1928 issue of Butterick’s Delineator magazine:

For Dancing, Dining and the Opera, Butterick patterns 2312, 2314, 2307. Delineator, Nov 1928.

“For Dancing, Dining and the Opera,” Butterick patterns 2312, 2314, 2307. Delineator, Nov. 1928. The center dress, if made in softer fabric and without the rose trim, would come very close to the black, chenille-embroidered Chanel.

Dresses for Dancing, Dining and the Opera, Delineator, nov. 1928. Butterick patterns 2315, 2317, 2325. Jacket 1367.

Dresses “for Dancing, Dining and the Opera,” Delineator, Nov. 1928. Butterick patterns 2315, 2317, 2325. Jacket 1367. The jacket was called a “bridge jacket.”

The bow construction on Butterick 2317 deserves a closer look:

A massive amount of fabric is ruched into the bow of Butterick 2317, Nov. 1928.

A massive amount of fabric is ruched into the bow of Butterick 2317, Nov. 1928.

Tiers and flounces were also featured in these 1928 patterns:

Butterick patterns 2325, 2314. Delineator, Dec. 1928.

Butterick patterns 2325, 2314. Delineator, Dec. 1928. The afternoon dress on the left has a high-low hem.

Butterick patterns 2297. 2301, and 2315. Nov. 1928; Delineator.

Butterick patterns 2297. 2301, and 2315. Nov. 1928; Delineator. [The dress on the right, made sleeveless, is the black evening dress shown above with a bridge jacket.]

Butterick patterns  2379, 2287, 2366. Delineator, Dec. 1928.

Butterick patterns 2379, 2287, 2366. Delineator, Dec. 1928.

The one on the left above has flounces and a bow. The high/low-hemmed dress at right is for a young woman.

“This lace frock is the most formal of daytime fashions.” Butterick 2430. Butterick 2446, right, has a cowl neckline attributed to Vionnet. It’s rather austere, except for its enormous bow. Feb. 1929, Delineator.

Flounces and great big bows: Butterick patterns 2448 and 2468, Delineator, Feb. 1929.

Flounces and great big bows: Butterick patterns 2448 and 2468, Delineator, Feb. 1929. The “bow” on the left seems to be flounces stiffened with horsehair.

Nothing succeeds like excess.

Delineator, December 1928.

Delineator, December 1928.

Although the “pillow” bow on the right is outrageous, the curved seams in the chiffon dress (far left) and the lace dress (center right) are real tests of sewing skill. The lace dress has both the uneven hem and sheer top  [“the effect of a transparent yoke of lace or chiffon . . . . The skirts, almost without exception, have an uneven hemline.”] described in The Delineator.

10 Comments

Filed under 1920s, Vintage Couture Designs, Vintage patterns