This “evening gown” is also made from a waist pattern and a skirt pattern.
In 1912 you could buy “dress” patterns, but Butterick still sold many separate “waist ” and skirt patterns — a combination that allowed for enormous variety and individualization. These eight patterns featured in Delineator magazine in February 1912 show how you could make a day and evening wardrobe from just a couple of waist (bodice) and skirt patterns.
To start with the evening look:
The high-collared chemisette was optional (as was the body lining). “Sleeves are in full or shorter length, and with or without the cuffs.” Above, the collar is a sheer fabric, but other soft, drape-y fabrics (even wool) could be used.
The variation on the right uses the chemisette and long sleeves (probably attached to the body lining,) but is made of a fabric appropriate for daytime, like linen or wool serge. Buttons add interest to the “day” look, and the soft collar is omitted entirely.
These two patterns were clearly meant as a set and could be made as one garment; but not all Butterick waist and skirt combinations close in the same place!
It’s possible to attach a skirt like this to the bodice with hooks and bars, but most women probably sewed the waist to the skirt, at least part of the way around. The side-front closing would make it hard to use the bodice with other skirts, although the skirt could be combined with other waists.
Waist 5176 and skirt 5177 are another set of patterns that could be made in day, afternoon, or evening versions. The long “sash” or back panel is an optional part of the bodice. Bordered fabrics are recommended for the skirt.
This skirt description offers many fabric and construction options, and also suggests that other waists can be used with it, allowing for even more variety.
Tricks of the Trade
Seeing all these variations should give hope to the overworked costumer: you could dress an entire chorus with variations on three or four bodice patterns and three or four skirt patterns. Fabric and trim variations will multiply the looks without having to draft a new pattern for every costume. In fact, character recognition would be aided by deciding that sophisticated Mme X always wears dresses with assymmetric side front closings, sporty Mlle Y always wears sailor collar variations, and gentle Mlle Z favors lace and soft fabrics. If you do one “waist” pattern fitting and one skirt pattern fitting per actress, and design three costumes for each that are variations on those patterns, you might get 15 costumes from five first fittings…. Hours and hours saved!
P.S. 1912 was the year the Titanic sank; Shaw wrote Pygmalion in 1912. The best production of Love’s Labour’s Lost I ever saw was set in 1914 (Royal Shakespeare Company, 1993, directed by Ian Judge with costume designs by Deirdre Clancy.)
Under These 1912 Clothes: