Tag Archives: Butterick patterns

Very Thirties: Great Big Bows

Butterick jacket outfit with a big, big, white pique bow. Butterick 5783, July 1934. Delineator.

Sometimes an era has fashion details that just scream the date — Leg o’ Mutton sleeves for the 1890’s, bustles for the 1880’s and 1870’s, etc. One of the things that screams “Nineteen Thirties” is the great big bow. [Some of these are not technically “bows,” because they give the impression of a bow without actually tying the fabric — but it ‘s the impression that counts.]

Outfits with 1930’s bows, Butterick 5138 and 5145, Delineator, June 1933. The one on the left might not look ridiculous, but the one on the right says “comedy” to me.

It may be the stiffness of the bow on the left that makes it extreme; the soft bow on the far right looks less aggressive, but it’s still a big one. Butterick 5856, 5860, and 5866, all in metallic fabrics; Delineator, September 1934.

Of course there are some bows that seem in proportion with the dress — and the human body — but there are also 1930’s bows that now look comic. Good if you’re designing a musical comedy…. Hard to carry off in realistic dramas.

The model in this Midol ad from 1934 wears a big plaid bow. Delineator, December 1934.

Matching plaid hat and stiff taffeta scarf, Butterick 5478, March 1934.

Bows appeared on evening gowns — front or back.

Butterick “robe de style” No. 5989 would discourage dancing cheek to cheek. Delineator, December 1934, p. 17.

Butterick 5780 is an evening grown with matching jacket … and bow. Delineator, July 1934.

“Code for College,” August 1934, included an evening jacket and gown with a big, stiff bow, although the suggested fabric was crepe…. Delineator. Butterick 5840.

The gown on the left (5864) is “after” Lanvin; the gown with the bow (5843) was “adapted from” designer augustabernard. Delineator, September 1934.

Bows on day dresses could range from modest to very large.

Butterick 5069, Delineator, April 1934. It’s really a collar scrunched up to look like a bow.

Butterick 5632, April 1934. White bow and cuffs; square buttons, parallel diagonal seams on bodice and skirt. Interesting!

Butterick 5628, April 1934. A bow edged with crisp, pleated ruffles, shown in detail at top.

Butterick 5848, August 1934. This bi-color bow seems to emerge from the front seam of the dress [but doesn’t.] The seam lines are very creative.

Butterick 5858, featured among “dresses from Paris.” August 1934. A band of trim on the end of the bow is continued down the skirt.

Bows appealed to the mature woman:

Butterick jacket frock, April 1934.

Fashions to flatter the large or short figure, December 1934. Left, 5967, with a pale jabot collar to draw the eye toward the face, was available up to size 52. The ensemble on the right with a soft bow, Butterick 5999, was available through size 48. It’s notable for being illustrated on a figure with realistic  hips.

Butterick 5449 combines two “very Thirties” looks: a big, big, bow and a big, big collar. It is sleeveless, but the model looks mature.

Bows, sometimes made of fur, even appeared on coats (5984). Butterick patterns from December 1934. Left: 5985 has a droopy bow; right: 5975 has a big, perky bow.

Bows were not considered matronly — they appeared on clothes for teens,  junior misses and even younger women.

Butterick 5061 for the Junior Miss. April 1933, Delineator.

Butterick 6071, from February 1935. I can picture this on the smart young office worker in any number of 1930’s movies. For Junior Misses 12 to 20 and women from 30″ up to 38″ bust. [Sizes 12 through 20 were for short and small women and teens.]

Butterick coat 5580, for girls, has a combination collar/bow that buttons into place. March 1934.

Butterick patterns for fur collars (5954) and hats (5933.) November 1934. The ones at top and center give the impression of being tied into a bow.

This one is a grand version of the collar on the girl’s coat:

Fur collar pattern, Butterick 5954, November 1934.

Did women really wear all these big bows?

Butterick 5756, from summer 1934, couples the big bow with unusual shoulders.

Miss Mary Kenny in a similar bow made of necktie silk. Delineator, June 1934. Her top has fashionable open sleeves, too. [In the early days of changing to fashion photographs instead of drawings, Delineator used young socialites and debutantes as models.]

Truth to tell, I really like this 1930’s dress with a bow:

Butterick 5915, from November, 1934.

Although most of these “big bow” images are from 1934, it just reflects that I have a lot of Delineator photos from that year. Butterick’s Delineator magazine ceased publication in 1937, but not before arranging for Butterick patterns to be featured in Woman’s Home Companion:

Variations on Junior Miss pattern 7204, Woman’s Home Companion, February 1937. The bow is still there.

 

 

 

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Filed under 1930s, Accessory Patterns, Children's Vintage styles, Sportswear, Vintage Accessories

The Bows of Summer, 1928

Big bows accent these evening dresses from July 1928. Left, Butterick 2087; right, Butterick 2109. Delineator magazine illustrations.

As much as I admire the Art Deco geometry of many 1920’s dresses, I can’t ignore the huge number of softly draped dresses accented with big bows, like this couture dress by Lucien Lelong from 1928.

A day dress from Paris designer Lucien Lelong; sketched for Delineator, August 1928. “Deep blue is very new for fall. It is the color of this crepe satin frock with its drooping skirt and bow-tied bolero.”

Title of page 37, Delineator, August 1928. “The Bow Continues to Play its Part.”

A solitary bow at the shoulder could be used to balance asymmetrical skirt drapery, as in this evening pattern:

Butterick evening gown pattern 2176, Delineator, August 1928.

Bows could be placed symmetrically in the center of the body or and/or neckline:

Illustration for “Are Fashions French?” article. Delineator, August 1928. [Symmetrical, but slightly dull…]

A single bow in the center of the hip girdle is the focus of Butterick 2125, left. The single bow is shifted to the left side of Butterick 2135. August 1938.

When two bows were used, they could balance each other by being offset, one high on the right side and one near the waist on the left, but this was not always the case.

Left, a day dress with a bow centered on the neck and another bow, far to the side, on the hip. Far right, a more formal dress with bows that balance each other, one on the right shoulder and one on the left hip. Butterick 2129 and 2178. August 1928. On No. 2178, the eye is led from the shoulder to the hip diagonally across and down the body, for a dynamic and slenderizing effect.

Sometimes bows were both placed on one side of the body:

In this dress, all the interest is on the frock’s left side, at the asymmetrical neck and the skirt — not an easy look to do successfully.  Butterick coat 2149 and dress 2187. August 1928. The side panel on the dress hangs below the coat hem; this was acceptable in the twenties.

Butterick afternoon dress 2174 has a bow centered at the neck line and another off to the side hip. Butterick dress 2174 and coat 2151. Delineator, July 1928. (In this case, the illustrator does not show the side panel of the dress hanging out below the hem of the coat, as it does in the previous coat and dress illustration.)

Even schoolgirls had bows on their “good” dresses:

Left, Butterick 2137 — with four bows — shown on a teen-aged girl. Right, a “bolero” outfit, Butterick 2167. August 1928. After idealizing the “boyish” look, now the magazine extols the “new feminine feeling.” The book Uplift says teens were buying brassieres, not flatteners, in the late twenties.

Dress 2137 — with four bows — was not just for teens; the pattern was also available for women sizes 36 to 44 bust. There’s a different illustration of the same dress later in this post. The dress on the right, below (No. 2066) was similarly available for teens or adults.

All three of thee dresses from July 1928 focus on large bows. from left, Butterick 2038, 2129, and 2066. Delineator.

The dress on the left has a “bridge coat” worn over a sleeveless chiffon evening dress. “Without the coat it is a chic evening frock….” Day dresses were usually not so completely sleeveless that the shoulder bone was visible; evening dresses were sleeveless and had lower-cut armholes than tennis dresses.

The print dress in the center has “a blouse with crushed waistline, square neck, and bows at hip, neck, and wrists;” for sizes up to 44 inch bust. For the dress at the right with shirred front, a color scheme of red, white and blue was suggested.

Even dresses with a modern geometric quality might be made with an accent bow:

Butterick 2137 and 2127 have a style moderne quality — and big bows. Delineator, July 1928. This illustration of 2137 is much more stylized than its version for a teen, shown earlier.

Number 2127 could be made without the bow:

Butterick 2127 in two versions, August and July of 1928.

As you might expect, bows reached their full glory in evening wear. The bow could be at the back, suggesting a bustle…

Butterick 2087, an evening dress with enormous back bow, June and July illustrations, 1928. For young or small women.

Like the dresses of the thirties and forties, its bodice has an underarm opening in the left side seam.

… or the bow could be at the side:

Butterick evening gowns, No. 2148 and 2140. August 1928, Delineator. 2148 has both bows on its left side.

Butterick evening dresses 2112 and 2123 have bows at the side hip. July 1928, Delineator. Showing bare shoulders with narrow straps, seen on No. 2112, was a very new fashion. They were called “lingerie straps.”  Chanel showed one in 1926.

Paris designer louiseboulanger (the house of Louise Boulanger) even put one enormouse bow on the front of a dress, an idea which Butterick seems to have copied…. [Butterick’s bow could be on the left side of the front — the illustration is hard to read — but the dress itself is symmetrical, so I would guess the bow’s in the center.]

Left, couture gown by louiseboulanger, sketched for the May issue; right, Butterick pattern 2108. Delineator, May and July 1928.

This complex satin dress was featured in an ad for Kotex:

Draped satin dress from an ad for Kotex sanitary napkins, Delineator, August 1928. The effect of a bow seems to be created by the tucked satin, but it is probably a separate piece of fabric.

I didn’t find a credit for the dress designer. Is the model a living woman or a store mannequin? What a lovely face….

Detail of Kotex ad, Aug. 1928.

I think she resembles Lee Miller, photographer and model. Mannequins were sometimes based on recognizable people.

 

 

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Filed under 1920s, 1920s-1930s, Vintage Couture Designs, Vintage patterns

Autumn Color for 1928

“The Elegance of Drapery” was the caption for page 28; from left, Butterick patterns 2205, 2178, 2203, and 2207. Delineator magazine, Sept. 1928.

Patterns for women could be intricately cut or relatively simple at the end of 1928. Luxurious, “dressy” fabrics were suggested, and many of these are rather formal afternoon dresses. The text mentions some wrap-around skirts, too.

At the end of summer, clothing that could carry into winter was illustrated. Delineator, September 1928, top of page 29.

In its September issue, Butterick’s Delineator magazine showed some outfits in full color, and others in black and white illustrations enlivened with rust or peachy-tan tones.

“Velvet takes first place among plain and printed fabrics.” Back views of Butterick 2234, 2235, 2201, 2213, 2219, and 2214. Delineator, September 1928, pg. 32.

Velvet — in prints or solid colors — was the theme for these dresses in Delineator, September, 1928. Butterick patterns 2234, 2235, 2201, 2213, 2219, and 2214.

Closer views, from the top:

Left, Butterick 2205; right, 2178. Sept. 1928. The text describes the wrap-around skirt of 2205 as dark red, rather than rust.

The elegance of drapery, Delineator, Sept. 1928. In the early 1920s, skirts often had a straight, simple back, with all the fullness of flounces and godets limited to the front of the garment. “Here they appear at the back as well as the front.”

The elegance of drapery: Butterick 2203 and 2207. Delineator, Sept. 1928. The blue “bolero” dress is made from printed velvet. (Powdering your nose in public — admitting that you wore make-up — had just become acceptable … within limits.)

In the twenties, a “bolero” did not need to be above the waist.

Butterick 2197. Delineator, Sept, 1928, page 29. “Rust brown wool” was recommended for this “street frock.”

Butterick 2188 has a panel running from the skirt, over the shoulder, and around the neck like a scarf. It was available up to 46 inch bust size.

Text describing Butterick 2188, September, 1928. Delineator, p. 29.

This odd style was not unique. A similar “skirt becomes scarf” effect was seen in Butterick 2213:

Butterick 2213 and 2188. 1928.

In fact, 2188 was featured two months in a row. Here it is from August 1928, using a bordered fabric in three shades:

In August, the suitability of this pattern to larger (or older) women was mentioned. Perhaps the straight “line of youth” is why she looks so narrow….

Also from page 29 of the September 1928 issue, this formal dress and coat ensemble would complete a daytime social wardrobe. Butterick 2176 and coat 2149.

Details of Butterick 2176 and 2149. 1928. The dress has a metallic top and a velvet wrap-around skirt. The cut of the skirt is complex, but the bodice and coat are relatively simple.

More patterns for velvet dresses were shown on page 32:

Butterick patterns 2234, 2235, and 2201 were suitable for velvet, a more autumnal fabric than crepe or chiffon. 2235 has a wrap-around skirt.

Patterns 2235 and 2201 were available in larger than average sizes — 48 and 46, respectively.

Velvet was suggested for Butterick 2213, sheer wool or double sided crepe for  2219. Coat 2214 is very simple. Delineator, Sept. 1928, p. 32.

There is an interesting dichotomy between the soft and droopy “draped frocks,” with tiers or panels dipping below the hem, and the more geometric, Deco-influenced ones, appealing to women with different tastes in fashion.

Soft dresses, with bows, tiers of flounces, or panels that dip below the hem. Delineator, September 1928.

Dresses with straight, geometric lines. Same magazine, September, 1928.

 

 

 

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

Hats and Dresses for Young Women, April 1924

The young woman at left wears Butterick dress pattern 5141 with Butterick hat pattern 4973. (The cape can be removed; it buttons on.) The frilly cloche worn with Butterick dress 5167 is presumably store-bought. Delineator, April 1924, page 36.

One of the pleasures of pattern illustrations in old magazines is seeing the accessories that accompany them. I especially enjoyed these 1924 hats and dresses for “Misses age 15 to 20” (and for “smaller women.”) Some of the hats are actually illustrations of  Butterick patterns. Other hats and accessories seem to be drawn (in both senses) from a selection kept on hand at the Butterick offices.

A satin dress topped with a wide brimmed hat. Butterick dress 5173, Delineator, April 1924. Page 36.

I’ll show most of  these outfits in full at the end of this post; first, I’ll show the hat details.

This Butterick dress with cape is pattern 5099. April, 1924. The cascade of roses on the hat would be easy to duplicate.

This wide-brimmed hat has a free-form pattern on the band. It’s worn with a tunic and slip combination, Butterick 5155. April 1924, Delineator.

Right, a simple cloche with an oddly cut front brim is shown with a plaid dress and decorated gloves. Delineator, April 1924, p. 36.

At the top of page 37, a gored cloche hat pattern (Butterick 4973) is shown with a caped dress pattern, Butterick 5070. Delineator, April 1924. I love the rose inside the brim of the hat worn with dress 5136.

As on dress 5141, at the top of this post, the short matching cape on pattern 5070 is optional.

Butterick dress 5145 is decorated with a large monogram (from a Butterick embroidery transfer.) The hat is Butterick pattern 4449. April 1924. Note the wallet-like clutch purse with a handy strap on the back.

Two ways of trimming a cloche hat; shown with Butterick dresses 5114 (left) and 5082. Delineator, April, 1924, p. 37.

Clusters of cherries cascade from the hat worn with Butterick dress 5159. Delineator, April 1924, pg. 37. The dress is made from fabric printed with large roses, shown later in this post.

A pleated frill trims the front of this cloche, like a 20th century version of the fontange. Butterick dress 5165 is probably an afternoon dress. April 1924.

Another Butterick hat pattern, No. 4886, is worn with a coat (Butterick 5120) and matching skirt (Butterick 4983.) Delineator, April 1924.

For those who are curious about the dresses, here are some full-length images:

Butterick 5481 and 5167, Delineator magazine, page 36, April 1924. Even on very young women, the hems are still several inches below the knee. The hips are made snug with tucks and buttons [!]

Page 36, top right: Butterick 5076, 5151, and 5173. Delineator, April 1924.

Top of page 37; Delineator magazine, April 1924.

Bottom of page 37, Delineator, April 1924.

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Filed under 1920s, Accessory Patterns, bags, Gloves, handbags, Hats, Purses, Vintage Accessories, Vintage patterns

Red and White Print Dresses, Vogue Patterns, 1936

What’s Black and White and Red All Over?

Vogue patterns 7251, 7253, and 7252, from Ladies' Home Journal, February 1936, p. 25.

Vogue patterns 7251, 7253, and 7252, from Ladies’ Home Journal, February 1936, p. 25.

Perhaps Valentine’s Day inspired the Ladies’ Home Journal to illustrate these Vogue patterns in black, white and red, back in February, 1936. In the 1930’s, the LHJ didn’t use as much color illustration as the Woman’s Home Companion. When the LHJ stopped selling its own patterns, it began to feature Vogue patterns, just as the WHC had begun selling “Companion-Butterick” patterns in the thirties. (Butterick’s own magazine, Delineator, suddenly ceased to exist in 1937.)
For a while in the twenties, Delineator had abandoned full color illustrations in favor of using black, white, and just one color.

Butterick patterns 1419 and 1417, illustrated in red, black and white by Delineator, May 1927.

Butterick patterns 1419 and 1417, illustrated in red, black and white by Lages, Delineator, May 1927.

(I wonder if Edward Gorey had a stash of 1927 Delineator magazines?) Here are closer views of this illustration:

"French frocks in America." Butterick 1419, Delineator, May 1929. Notice the flashes of red in the pleated skirt.

“French frocks in America.” Butterick 1419, Delineator, May 1929. Notice the flashes of red in the pleated skirt.

Butterick 1417, Delineator, May 1927. If you want to know how those top-stitched pleats were done, click here.

A print scattered with red hearts or leaves. Butterick 1417, Delineator, May 1927. If you want to know how those top-stitched pleats were done, click here.

These Vogue dress illustrations from Ladies’ Home Journal use the same method, but in a less distinctive drawing style. What’s black and white and red all over? These pattern illustrations.

Vogue 7251, illustrated in a foulard print with either a black ground or a red ground. Ladies' Home Journal, February 1936.

Vogue 7251, illustrated in a foulard print with either a dark ground or a red ground. Ladies’ Home Journal, February 1936. The alternate view, which appears later in this post, shows a very interesting yoke and shoulder.

Text accompanying Vogue 7251.

Text accompanying Vogue 7251. This dress could be made in dressier versions, using “crinkled satin” or “beige heavy sheer.” a “foulard” design was often used in men’s neckties.

Vogue pattern 7253, for a dress and matching jacket. Ladies' Home Journal, February 1936.

Vogue pattern 7253, for a dress and matching jacket. Ladies’ Home Journal, February 1936. The fabric is illustrated with either a pink or dark ground.

Vogue 7253 pattern information. 1936.

Vogue 7253 pattern information. 1936. LHJ suggested that you make the dress  in a floral pattern for a young woman to wear to school, and for a mature woman in sheer navy with tucked sleeves on the jacket.

Alternate views of Vogue 7251, 7253, and 7252. 1935.

Alternate views of Vogue 7251, 7253, and 7252. LHJ, 1936.

Vogue 7252 from Ladies' Home Journal, February 1936.

Vogue 7252 from Ladies’ Home Journal, February 1936.

Pattern description for Vogue 7252, 1936.

Pattern description for Vogue 7252, 1936. “The dress itself is slim and simple. The jacket has shaped lapels and a diminutive peplum…. in bright red and navy.”

You can see the dress without its jacket in the alternate view, above. (And the text reveals a shortcoming of black and white illustrations: the fabric is really red and navy blue.)

Butterick suggested print dresses for February 1936, too; left, a solid sheer; and right, a sheer floral print.

Butterick 6630, shown in sheer fabric, and 6634 in a floral print. Delineator, February 1936, p. 37.

Butterick 6630, shown in sheer dark fabric, and 6634 in a sheer floral print. Delineator, February 1936, p. 37.

Butterick print dresses from 1936. Left, pattern 6668, right pattern 6634. The dress in the middle is Butterick 6605. All from Delineator, Feb. 1936.

Butterick print dresses from 1936. Left, pattern 6668; right, pattern 6634. The dress in the middle is Butterick 6605. All from Delineator, Feb. 1936.

We can get an idea of what 1930’s dresses looked like on a real woman from this photo:

Her husband approves of this red and white print outfit, which the young woman made on ther Singer Home Sewing Machine. Singer ad, Delineator, Feb. 1936.

Her husband approves of this red and white print outfit, which the young woman made on her Singer Home Sewing Machine. Butterick 6593. Singer ad, Delineator, Feb. 1936.

This evening dress, in a large-scale butterfly print, is Butterick 6666.

Butterick 6666, a print fabric covered with large butterflies. Delineator, Feb. 1936.

Butterick 6666, a print fabric covered with large butterflies. Delineator, Feb. 1936. It is trimmed with triangular dress clips, which are jewelry, not buttons.

text-6666-butterfly-print-delin1936-feb-p-37-top

Elsa Schiaparelli showed a large-scale butterfly on this bathing suit in 1929 …

A Schiaparelli swimsuit and hooded coverup illustrated in Delineator, July 1929.

A Schiaparelli swimsuit and hooded coverup illustrated in Delineator, July 1929. “White wool bathing suit embroidered in black.”

… and made butterflies even more popular in  1937:

Elsa Schiaparelli butterfly dress, in the Metropolitan Museum Costume Collection.

Elsa Schiaparelli butterfly evening dress, 1937. Image courtesy of the Metropolitan Museum Costume Collection.

I’m all a-flutter! And I seem to have strayed from red and white and black prints.

P.S. In the nineteen fifties, the answer to the children’s riddle “What’s black and white and ‘red’ all over?” was  “A newspaper.”  Gee, I’m feeling old today.

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Filed under 1920s, 1920s-1930s, 1930s, Sportswear, Vintage patterns

Fringe Fashions, December 1918

Old copies of Delineator magazine always have surprises that catch my eye.

December fashions, Delineator, 1918, top of p. 64

December fashions, Delineator magazine, 1918, top of p. 64. Butterick patterns 1276, 1260, 1255, and 1243.

Parts of the December 1918 issue were probably ready to print before the Armistice was announced on November 11, and the magazine contains many references to World War I.

Butterick doll clothing for a soldier, 402, and a sailor, 403. Delineator, December 1918.

Butterick doll clothing: “boy doll’s military suit,” pattern 402, and “boy doll’s sailor suit,” 403. Delineator, December 1918. This woman’s “one-piece dress” pattern was available up to size 44.

text-patterns-1276-402-403-1918-dec-p-65-dec-1918-btm-text

But the “theme” of the month seems to be fringe. Here is the bottom of the same page:

Butterick patterns for women, December 1918. Two are fringed, and the gold dress is trimmed with black monkey fur. Delineator, p. 64.

Butterick patterns for women, 1283, 1294, and 1305. December 1918. Two are fringed, and the gold dress is trimmed with black monkey fur. Delineator, p. 64.

Pattern descriptions for Butterick 1283, 1294 and 1305, December 1918. Delineator.

Pattern descriptions for Butterick 1283, 1294 and 1305, December 1918. Delineator.

Fringe could be light-weight, like chenille, or made from heavier silk or cotton. I have encountered monkey fur coats in costume storage. [Eeeeeek. Just as unpleasant as having the paw fall off a vintage fox fur stole.]

More fashions with fringe appeared on page 63:

The blue dress is fringed; the other is trimmed with fur. Delineator, Dec. 1918,. p 63

The blue dress (1278) is trimmed with fringe; the other outfit (blouse 1259 and skirt 1105) is trimmed with fur and decorative buttons. Delineator, Dec. 1918, p 63. Two different muff patterns were illustrated, 1190 and 9517.

In addition to keeping your hands warm, a muff often had an interior pocket that functioned as a purse.

Two more fringed day dresses, Dec. 1918. Delineator, p 63.

Two more fringed day dresses, Dec. 1918. Delineator, p 63. Butterick 1253 and waist/blouse 1263 with skirt 9865. No. 1253 is illustrated in satin; waist 1263 is in velvet, worn over a satin skirt.

More fringe from December 1918:

Butterick patterns illustrated in Delineator. Dec. 1918, page 65.

Butterick patterns illustrated in Delineator. Dec. 1918, page 65. Fringe trims the center two.

Butterick patterns in Delineator, page 71, December 1918.

Fur or fringe trims these Butterick patterns in Delineator, page 71, December 1918.  Women’s dresses No. 1294, 1309, and 1285.

Butterick patterns, Delineator, Dec. 1918, p. 68.

Butterick patterns, Delineator, Dec. 1918, p. 68. The shape of the skirt is determined by the high-waisted, curve-flattening corset of the era.

Fringe hangs from the pockets of a skirt, Delineator, Dec. 1918, p. 68.

Fringe hangs from the pockets of a skirt, Delineator, Dec. 1918, p. 68. Butterick blouse 1306 with skirt 1226. Shirt-waist pattern 1279 with skirt of suit 1101.

In October, Butterick suggested a fringed wedding gown, pattern 1169, shown again in November in a dark, velvet version:

Left, wedding gown 1169, Butterick pattern from October 1918; right, the same pattern in velvet, worn for a formal occasion. (November, 1918.)

Left, wedding gown 1169, Butterick pattern from October 1918; right, the same pattern in velvet, worn for a formal daytime occasion. (November, 1918.)

If you weren’t ready to go wild with fringe, you could carry a subtle fringed handbag instead of a muff.

Winter coats from Butterick December 1918. The woman in the center carries a matching striped muff; the woman on the right carries a fringed handbag. Delineator, December 1918, p. 66.

Winter coats from Butterick December 1918. The woman in the center carries a striped muff (Butterick 1266) to match her coat; the woman on the right carries a fringed handbag (Butterick pattern 10720.) Delineator, December 1918, p. 66.

The coat on the right is a reminder that the “Barrel skirt” or “tonneau” was [to me, inexplicably] in fashion for a while.

 

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Filed under 1900s to 1920s, Accessory Patterns, bags, Hairstyles, handbags, Hats, Hosiery, Purses, Vintage patterns, Wedding Clothes, World War I

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.

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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.

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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.

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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.

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