Butterick Pleated Dresses with Hats from 1926

Four Butterick designs from December 1926. Delineator, page. 43.

I love the art deco “arrow” trim on the dress at center left, and the asymmetry on the dress at center right (it’s not a suit). Both are chic and probably influenced by Gabrielle Chanel, whose jersey tweed outfits were making news. She was also using pleats in 1925 – 1926.

“Sports Frock” by Chanel, illustrated by Soulie in Delineator, January 1925.

“Chanel makes her famous sports frock of mixed beige and tobacco wool with a sweater blouse and an inverted plait at the front and back of the skirt which is not excessively narrow.”

In a later outfit, from July, 1926, the same year as the Butterick dress patterns, Chanel uses many pleats:

On the right, a Chanel ensemble from July 1926, drawn by Soulie for Delinator magazine. The ensemble on the left is by Premet.

Text describing the ensembles by Premet and Chanel. Delineator, July 1926.

Butterick’s pattern illustrators also put their models in hats that resemble the ones shown with the Paris fashions.

Hats shown with Premet and Chanel fashions in July, 1926. Delineator.

Their dented and fold-over crowns seem to be inspired by the Phrygian cap which was a symbol of the French revolution. (Liberty, leading the people, wears a Phrygian cap in statues, paintings, and on these French stamps.)

Phrygian caps influence cloche hats; Delineator, 1926. The color image is from Etsy. The top of the hat can be flipped to any side.

Butterick 1163

Butterick pattern 1163, Delineator, December 1926.

Butterick 1163:  “. . . Square neck in front and a tab yoke in back are Paris signing off  [on this] frock. The arrangement of plaits in front of the straight skirt, the wide belt . . . and neck-band give the frock an air of individuality. Size 36 requires 2 1/4 yards of wool jersey 54 inches wide. Lower edge, plaits drawn out, 1 3/4 yard. For women sizes 32 to 44 inches bust.” [There are no pleats on the back of the dress. The front pleats seem to be stitched down.]

Butterick 1176

Butterick pattern 1176, Delineator, December 1926.

Butterick 1176:  “The smart woman spends most of her life in sports clothes and evening clothes. A frock with the two-piece look in front and a flat, one-piece back, an unusual collar and a tab closing is an excellent style for worsted, wool crepe, or flat crepe. The lower edge is straight. Size 36 requires 2 yards of 54 inch tweed. The frock is suited to women 32 to 44 bust.”

Back when I had a sewing machine that didn’t do buttonholes (it was straight stitch only!) I would have been attracted to this dress because all the closures could be done with snaps.

Adjusting the Fashion Ideal to Reality

I’ve written before about how deceptive fashion illustrations can be (For “Fashion Illustration versus Fashion Reality, 1934” click here.) Just for fun, I drew Butterick 1176 on a more “normal” eight head figure by Jack Hamm:

An eight head figure, and Butterick 1176 as it might look on a living person.

In the illustration from Jack Hamm’s book Drawing the Head and Figure, which I have modified to show the “heads” as a unit of measurement, there are four “heads” from crown to bottom of the torso and four “heads” from there to the ground. The heel — supporting weight — is at 7 1/2 heads.

A cutter/draper working from the original fashion illustration would have to work from a few fixed points, as I did: the longer lapel comes to about the bust point (scroll down to see); the bottom of the “jacket” probably stops at the top of the thigh, or it will crease when she sits. (The button tabs ought to have been scaled down on my sketch.)   I personally believe that costume sketches should be drawn on an eight head figure, so the director and actors — and the costume shop — will have a more truthful idea of what the design will look like on a normal human being. It’s cheaper to solve problems on paper than in fabric.

Without computer generated imagery, an actress will never look like this:

An impossible ideal.

If she’s never seen the impossible ideal, an actress may be willing to look like this:

Butterick 1176 as it might look on a normal body.

In fact, since this dress has a long front opening, the sides can be tapered to look less bulky and more flattering. The sleeves can be tighter. A costume shop would probably build this dress with an inner lining that enables the skirt to hang from the shoulders, keeping the blouson in place, rather than depending on the belt to do it. [Tricks of the trade!]

 

 

 

 

1920s Orange and Black: Not Just for Halloween

It isn’t news that certain colors — and color combinations — go in and out of fashion. But the combination of orange and black is now so strongly linked to Halloween that it’s a surprise to find it on dresses for spring in the mid-1920s.

Dresses for women aged 14 to 20, February 1925. Butterick pattern illustrations from Delineator magazine.

These young women are enjoying a box of Valentine’s Day candy. Early twentieth century color printing was not based on the CMYK [Cyan, Magenta, Yellow, and Black] inks we use today, so illustrations from the twenties often have an autumnal quality compared to the bright colors we are used to. Nevertheless, the red valentine hearts show that the dress on the right, above, is definitely orange, with black trim. The same color combination was suggested for older women, too:

Fashions from Delineator, April, 1924. Butterick pattern illustrations.

Orange was also worn with dark blue in 1924 and 1925, but the woman on the left is wearing [burnt?] orange and black in this April pattern illustration.

This lovely illustration for a Holeproof Hosiery advertisement, by McClelland Barclay, appeared in May, 1925:

Holeproof Hosiery ad, illustration by McClelland Barclay, May 1925 Delineator.

The dress on the right may be trimmed with dark brown, matching the dress on the left, but this is another suggestion that orange is an appropriate color for May. Note the orange-y stockings on the right. Both women wear almost-opaque silk stockings.

Left, April 1925; right, June 1925. Butterick pattern illustrations from Delineator.

The dress on the left looks more coral (or cadmium red) than orange, but the sporty dress on the right is unquestionably orange and black. (There’s also a glimpse of an orange, black & white plaid dress behind the woman at left.) The orange striped dress is from a June issue, and orange and white is still a summer combination. But we’re more used to seeing orange combined with other bright colors, like yellow or lime or watermelon pink — not alone with black.

This lady is decorating her kitchen (with Valspar paint) while wearing a black and orange top, with a coordinating black and orange trimmed apron:

Valspar paint ad, 1925. Delineator magazine.

These girls are wearing back-to-school clothes, so it is autumn; the little girl is dressed in orange and white plaid, with black trim:

Back to school clothes, 1925. Delineator.

[Digression: The Chanel-influenced outfit on the left is knee-length on a schoolgirl in 1925; adult women would be wearing this length within two years.]

This is another illustration by McClelland Barclay for Holeproof Hosiery.

Holeproof Hosiery Ad, October 1925 Delineator. Illustrator is McClelland Barclay.

The caption read “First — Artistry in Silk, then the vividness of Paris Colors.” Her satin bodice may be navy, rather than black, but the combination — not to mention her orange silk stockings — is not one we’re used to seeing today, except around October 31.  A little less jarring – because the orange is not combined with black — is this suggestion for an October wedding, from 1924:

Bride, Maid of Honor, and Bridesmaids. Butterick Pattern illustration from Delineator magazine, October 1924.

I notice that most of the wedding party are rosy-cheeked brunettes. Presumably the bride chose colors she was used to wearing. [ P.S. This is one of those illustrations that always made me ask, “How is it possible for women that young to have busts that low?” See Underpinning the Twenties:  Brassieres, Bandeaux, and Bust Flatteners for the answer.]