Tag Archives: Delineator magazine

Serendipity: 1933 Wedding Gown & Its Rare Pattern

Left, Butterick Starred Pattern 5299, a copy of the wedding dress worn by actress Helen Twelvetrees in Disgraced; right, a vintage wedding dress made from this pattern.

Some time ago I wrote about Butterick Starred Patterns. As far as I know, only twelve Starred Patterns were issued; they were exact copies of movie costumes by top film designers.

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Left, still photos from a Bette Davis movie; lower right, two Butterick “Starred” sewing patterns that are exact copies of her costumes. Delineator, 1933.

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Star Helen Twelvetrees modeled a wedding gown designed by Travis Banton in this Paramount movie. Delineator, 1933.

Wonderful Liza D at Better Dresses Vintage recently acquired a vintage wedding gown …

Vintage wedding gown discovered by Liza D, photographed on a very tall mannequin.

…along with the Butterick pattern used to make it.

Butterick Starred Pattern 5299, from 1933. Someone wrote “Dots Wedding Dress” on it. (Dot = Dorothy)

Back of Butterick pattern 5299, used with permission of Better Dresses Vintage.

Image from the Deltor (sewing instructions sheet) inside the pattern envelope. The corsage hides the shirring (“gathers”) on the bodice.

Shape of pattern pieces from the back of the envelope.

I am very grateful that Liza shared these photos with me! As if that connection with a rare Butterick pattern weren’t enough, this was the “cherry on the cake:” the bride had torn a page from Delineator magazine on which this wedding dress was illustrated, and saved it inside the pattern envelope!

Liza D found this page from Delineator, September 1933, folded inside the pattern envelope.

Here is a clearer image of that wedding gown illustration.

Butterick 5299 wedding dress illustration from Delineator, September 1933.

It was originally featured in an article which showed the gown as worn in the movie — these illustrations come from Delineator’s August 1933 issue:

5299 pattern illustration from August, 1933.

Helen Twelvetrees models the wedding gown designed by Travis Banton. Delineator, August 1933.

Liza realized that “Dot’s Wedding Dress,” as it says on the pattern envelope, was made for a small woman, not the six-foot fashion mannequin she originally photographed it on. (Look at the sleeve length:)

The dress on a too-tall mannequin; those sleeves should be wrist length.

… so she asked her 14-year-old daughter to try it on. Her daughter is 5’2″ and the dress is lovely on her:

The 85-year-old dress on a model the right size is still beautiful. Cream colored satin dresses were a chic Thirties’ choice.

Puffy “Directoire” sleeves made a comeback in the early 1930s.

It’s not often that a vintage gown can be dated this precisely when we don’t even know the full name of the bride, or her wedding date. [Edit 1/27/19: Liza says, “I know the bride’s name and who she was, because I asked the family I acquired it from. She was their mom’s cousin. Yes, I’ve asked them to share a photo of her in it if they come across one.”  We can hope!]  We do know that she read Butterick’s Delineator magazine 🙂

Butterick 5299 was used for this 1933 wedding dress, beautiful enough for a movie star.

Liza D says it was made without a train, “perhaps for an in-home or informal wedding? There was no veil included.”

I am very grateful that Liza D remembered reading about Butterick Starred Patterns in this blog, and that she was willing to share these photos of her unusual vintage find! Check out this dress (and the pattern) and her other items for sale by clicking here. Thanks to her daughter, too.

P.S. If you missed my five posts on Starred Patterns, here they are: (Sorry I about the font size!)

Butterick Starred Patterns: Actual Fashions from the Movies (Part 1)

Bette Davis wears designs by Orry-Kelly.

Butterick Starred Patterns Part 2: Kay Francis in The Keyhole

Also designs by Orry-Kelly.

Butterick Starred Patterns Part 3: Mary Astor

More designs by Orry-Kelly.

Butterick Starred Patterns Part 4: Katharine Hepburn and Helen Chandler

Designs by Howard Greer.

Butterick Starred Patterns Part 5: Helen Twelvetrees Wears Travis Banton

 

 

 

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Filed under 1930s, Dresses, Vintage Garments: The Real Thing, Vintage patterns from the movies, Wedding Clothes

Not What We Think of When We Say “Twenties’ Fashions:” 1920

A couture evening dress by Parisian designer Georgette, illustrated in Delineator, February 1920, p. 111.

It would be convenient if fashions changed only when a new decade began — boring, but convenient when assigning dates to fashion history. But that’s not how it worked.
When invited to a “twenties’ ” costume party, not many women would show up dressed like this:

Left, Butterick waist 2056 with skirt 2046; right, dress 2100. Delineator, January 1920, p. 76.

Butterick 2419 and 2366, June 1920. Front views, Delineator, p. 113.

Butterick dresses 2419 and 2366, June 1920. Alternate views. From the rear, 2366 really exaggerates hip width.

Of course, twentieth century fashion was always in transition; these dresses from 1920 are still showing the influence of the big-hipped styles of the 1914-1918 war era.

Two outfits from April 1917. Left, a “tonneau” or barrel skirt (Butterick skirt 9064); right, a skirt with protruding pockets rather like 1920 dress No. 2336, above.

The odd skirt on this 1920 dress echoes a style detail carried over from 1917. Butterick 2272, April 1920.

Butterick 8929, from February 1917. The skirt hangs from widely spaced cartridge pleats, also called “French gathering.”

A dress on the cover of Delineator magazine, April, 1920. Cartridge pleats again — but these are near the natural waist. They seem to be secured with buttons.

This rear view, from an advertisement for satin, is jaw-dropping:

Illustration from an ad for satin fabrics; Delineator, April 1920. It suggests the (attempted) return of the bustle.

Well… that is not the direction that 1920’s fashion eventually took!

To be honest,  I’ve been deliberately showing dresses that don’t fit our preconception of “the Twenties.” In fact, we can see the seeds of later nineteen twenties’ style in both of these dresses:

Gradual change in fashion: the waist is getting lower in 1920; the bodice extends to the hip; and the familiar late Twenties’ dropped waist is seen in the low attachment of both skirts.

This is transitional fashion: there is a dropped waist (where the skirts are attached) and a more or less natural waist, where the dress is belted in.

Often, fashions leaning toward the past and fashions prefiguring the future were shown side by side.

Two patterns illustrated on page 152, Delineator, April 1920. Left, Butterick 2278 has a long bodice and looks more “twenties”; right, 2239 has the wide-hipped, peg top look of the previous decade.

[Thanks to Sophia for explaining that “pegged-top” “refers to the child’s spinning toy ‘pegtop’ which is narrower at the bottom than the top like the skirts.”]

Butterick patterns 2060 and 2097, Delineator, January 1920.

If a woman got rid of the belt and shortened No. 2060, she could have worn it for several years in the Twenties:

These dresses from 1925 are not too different from 1920’s No. 2060. One has a similar bodice; one has a similar skirt.

The truth is that twentieth century fashion usually changed incrementally [which is why the rapid change from 1929 to 1930 is so extraordinary.]

Three Butterick patterns from February 1920. One of them looks more “Twenties” than the others.

All the following dresses are from early 1920:

Two patterns from Spring of 1920.

Butterick patterns from June, 1920. Waist 2383, skirt 2336, and dress 2371.

The long, lean look was also worn:

Butterick 2351 from May 1920. Delineator, p. 152.

But it’s probably the sporty, youthful quality of this summer dress that gives me that “Twenties'” feeling.

Butterick dress 2410 from Delineator, June 1920.

I have to remind myself that all these 1920 dresses would have been seen at the same time — and probably for several years.

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Filed under 1900s to 1920s, 1910s and WW I era, 1920s, evening and afternoon clothes, Old Advertisements & Popular Culture, Sportswear, Vintage Couture Designs, World War I

Remembering 11/11/18: Red Cross Patterns

The appalling carnage of World War I is often given in statistics; these Red Cross patterns and instructions for volunteers — making hospital gowns, bandages and wound dressings, surgical masks and gowns, etc. — also remind us (and those Red Cross volunteers) of the suffering it caused.

Women’s magazines like Delineator and Ladies’ Home Journal published government information as well as encouraging volunteer work. The patterns above are for operating room personnel.

A surgical gown for doctors and two kinds of pajamas for hospital patients. Delineator, Nov. 1917.Red Cross patterns were available for sewing groups or individual volunteer stitchers.

Operating room gear — like surgical gowns and sterile shoe covers — could be made using regulation Red Cross patterns. Pajamas for patients were also in demand. The “taped” pajama below opens so the injured soldier need not be moved for his wounds to be inspected and dressed.

Red Cross regulation “taped pajamas” for the wounded and socks for injured feet; Ladies Home Journal, Dec. 1917.

Making these garments must have reminded civilians that soldiers were receiving terrible injuries.

Women and children were encouraged to knit Red Cross regulation sweaters, socks, and even “helmets” that kept heads and faces warm.

“Knit Your Bit for the Navy” article, Delineator, August 1917. “Every man in the fleet must be kept warm if we are to win — will you help?”

Delineator, November 1917.

Red Cross volunteers also made:

Not just knitting: List from Ladies’ Home Journal, July 1917. The same information ran in several women’s magazines, but each magazine formatted it differently.

Many women imagined themselves doing “glamorous” war work, like nursing or ambulance driving. (They had no idea of the horror those women faced daily.)

However, “In war more men die from exposure and illness than from wounds. Every hour that you waste, you are throwing away the life of one of our soldiers.” “Don’t say you are too busy to knit — it isn’t true.”

Items to Knit for the Red Cross, LHJ, October 1917.

Initially, there was such an outpouring of knit garments — many totally unsuitable for the Front — that the Red Cross used women’s magazines to explain why regulation colors and instructions had to be imposed.

A poorly knitted or fitted sock could have a serious impact on a soldier. Blisters and foot infections sent many to the hospital. LHJ, Oct. 1917.

The front and back of a knitted “helmet.” LHJ, Oct. 1917.

More disturbing knitting supplied the operating room:

Knitted Wipe for Surgical Use, LHJ, July 1917.

Some volunteers chafed at the Red Cross rules, so regulations had to be explained and justified — repeatedly.

LHJ, October 1917. (Laparotomy is an abdominal surgery procedure.) Sterile dressings needed to be made in supervised rooms, not at home.

LHJ, October 1917. Even a loose thread could cause infection.

Children were also encouraged to knit for soldiers and sailors:

Article recruiting members of the Junior Red Cross, Delineator, November 1917. Even beginning knitters could manage to make mufflers and wristlets.

Junior Red Cross war work suggestions. Delineator, Dec. 1917. “Uncle Sam needs a million sweaters NOW. There are twenty-two million of you [children.] If you work, every soldier under the Stars and Stripes will have his sweater.”

The United States didn’t enter the war until April of 1917. French and British soldiers had been fighting the Germans since August of 1914, and supplies were being exhausted.

LHJ, August 1917.

LHJ, October 1917. All these “boxed” images are from the same article.

The Armistice treaty which concluded “the War to End All Wars” came into force at 11 a.m. Paris time on 11 November 1918 (“the eleventh hour of the eleventh day of the eleventh month.”) — Wikipedia.

About 8,500,000 soldiers had died. Over 21 million were wounded.

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Filed under 1900s to 1920s, 1910s and WW I era, Accessory Patterns, Menswear, Musings, Nightclothes and Robes, Old Advertisements & Popular Culture, Uniforms and Work Clothes, World War I

Unusual Capes, 1912 to 1920

Cape by Reville and Rossiter of Hanover Square, London.

Many years ago I encountered this cape with an unusual criss-cross front.

Detail of front of vintage cape.

I was reminded of it by two different Butterick patterns.

1914: Butterick 6975

This one is Butterick cape 6975 from June 1914. Delineator.

Note: I often have to crop images to show details because they would otherwise be too tall to see on a computer screen. Tall hats make it a real challenge. This page was 16 inches high.

Those very tall aigrettes on the hat make it hard to photograph the entire ensemble. [The word “aigrette” is etymologically related to “egret.”]

Let’s hope those are heron feathers and not the endangered snowy egret, or osprey. (Egrets and Herons are members of the same family.)

Here’s a description of Butterick cape 6975:

One pattern included several versions of cape 6975. “The cape may be in any of three outlines….”

1920: Butterick 2319

In 1920, Butterick issued a another cape pattern, even more similar to the vintage cape:

Detail of front of vintage cape.

Butterick cape 2319, Delineator, April 1920.

Two illustrations of Butterick cape 2319 from 1920. Images via Google and the Hathi Trust.

I even found a story illustration showing a young woman wearing a simple criss-cross cape on board a ship.

Story illustration from Delineator, 1920.

Of course, that cape doesn’t really look very good, because the narrow criss-cross front straps conflict with the look of the dress under it. The high-end vintage cape, on the other hand, covers most of any blouse that would be worn under it.

Cream and black cape by Reville and Rossiter of Hanover Square, London.

This very high quality wool cape, which I found in a private collection, was made of tightly woven, creamy white wool, with a black silk lining and black accents. It reminded me of doeskin — but I think it was slightly brushed wool.

Detail of vintage cape fabric, showing damage.

Back of Reville and Rossiter cape. Part of the collar is black.

The cape was probably intended to be worn and kept on, like a suit coat, because it was held in place by ties in back, near the waist. This cape would not be something you casually slipped in and out of during a visit; I think you would want to be standing in front of a mirror as you settled it on your shoulders and then reached behind you — under the cape — to tie the silk ties like apron strings.

The pleated white bands end behind the wearer’s body in black silk ties, which have shattered.

The silk ties, like the lining, were very damaged.

However, there is no problem dating this cape, because it is the British equivalent of couture. The date, 1912, is on the label:

The label in the cape says Reville & Rossiter, (1912) Ltd. Hanover Square W. — a posh London address.

I said this was a very high-end garment;  Reville and Rossiter of Hanover Square also made the custom coronation gown worn by Queen Mary in 1911. (Click the link to see more views and close-ups.)

Back view of Queen Mary’s coronation dress, 1911. The embroidery represented flowers and leaves from England, Ireland, Scotland, and India. Image courtesy of The Royal Collection Trust.

They made this court dress (Click here to see full information and an enlarged image) in the collection of the Victoria and Albert museum, …

Reville & Rossiter made this Court dress with train, worn in September, 1913. Image courtesy of V&A museum.

Detail of bodice on court gown by Reville & Rossiter, 1913. Notice the superb lace and the tassels at the waist. Courtesy of V&A museum.

… and this 1919 evening dress, also at the V & A.

The front of the Reville & Rossiter cape. The black buttons and buttonholes echo the back collar, also black.

I suppose it’s possible that the cross-over front of this designer cape inspired copies, which became available as sewing patterns by 1914 — and the style was copied even more closely in 1920. According to The Royal Collection Trust, “Reville and Rossiter was a London couture house made court dressmaker to Queen Mary. It gained the royal warrant in 1910 and in 1911 designed the queen’s coronation robe. By the 1930s they were no longer in business.” You could say that our vintage cape, made in 1912, was fit for a queen.

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Filed under 1900s to 1920s, 1910s and WW I era, 1920s, Coats, Vintage Couture Designs, Vintage Garments: The Real Thing, World War I

Evening Gowns, October 1930

Delineator cover illustration by Helen Dryden, January 1930.

I’m back! Although my “vacation” at the library was interrupted by some family illness, I did manage to photograph the 18 months of Delineator magazines from July 1929 through December of 1930 — and that was a time of sudden and drastic fashion change. I learned a lot — and will be sharing….

Paris fashions illustrated in August 1929 are recognizably from the Twenties.  Top left, coat by Lanvin; top right, dress by Chanel; bottom left, coat by Lelong; bottom right, autumn frock by Vionnet. Waists are low; hems barely cover the knee.

Three months later a new style was introduced:

Paris fashions illustrated in November 1929. Patou, second from left, took credit for the new silhouette, with longer skirts and belts at the natural waist. The designers are: 10) Molyneux, 11) Patou; 12) Cheruit; and 13) Mary Nowitsky. Delineator, November 1929. Nowitsky also shows a natural waist and a knee-covering hem, but Patou’s is noticeably longer.

Patou’s new silhouette was influencing patterns within a few months:

Two Butterick patterns from April 1930 show the new silhouette: dresses with a natural waist and much longer skirts than in the late 1920s.

Sadly, Butterick’s Delineator magazine was affected by the October 1929 economic crisis, with a decrease of advertisers and the near elimination of color fashion illustrations. However, these 1930 evening gowns were given the full treatment: ours to enjoy.

Evening patterns from Butterick: Left, 2978 has a deep back opening; Center, 2972 has diagonal flounces,; and right, 2976 uses several layers of net, growing gradually more transparent toward the hem. Delineator, January 1930, page 24. All are belted near the natural waist.

Butterick 2978 is a “princess” frock — i.e., it has no waist seam. January 1930. Dresses with these very narrow straps were said to have “camisole” necklines.

Butterick 2972, with a cape over one shoulder, also has a “princess corsage.” January 1930.

Butterick 2976, shown in pastel net instead of black. In this front view of the “princess body,” you can see that there is no waist seam. There are three layers of net, with an opaque layer closest to the body.

The top of the net dress has a very modern “deconstructed” look, as though the net covering the upper chest had been cut from top to bottom and is left hanging free, front and back.

A closer look at the tops of dresses 2978, 2972, and 2976 (black net), which is asymmetrical. (So is the blue one.)

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Filed under 1920s, 1920s-1930s, 1930s, evening and afternoon clothes, Vintage Couture Designs

Vacation Needed

Illustration from Delineator, 1925. This rural schoolteacher was tired out.

I’m not quitting — but after more than 500 posts, I do need a vacation!

I started writing witness2fashion in 2013, partly inspired by my discovery of more than 400 bound copies of Butterick’s Delineator magazine in storage at my public library. I was stunned by the color illustrations, and fascinated by the pattern illustrations and the advertisements. Very few of these magazines have been digitized or microfilmed — the latter is a blessing, in a way, because so many color magazines were preserved in black and white and then discarded by libraries during a wave of microfilming that took place just before digitization in full color became possible. That seems incredible, but…. [Recommended reading: Double-Fold: Libraries and the Asssault on Paper, by Nicholson Baker.] 

Hikers. Color illustration from an ad for Ivory Flakes soap, Delineator; October 1928.

Because of my interest in “everyday” fashions and working class clothing, Butterick’s “middle-class,” Paris-oriented Delineator would not have been my first choice — I was hoping to find McCall’s magazines. I used to own a few from the 1930’s, so I know they had color illustrations. But my last inquiries — assisted by a reference librarian — didn’t turn up any actual bound volumes of old McCall’s within 200 miles of me (and I am surrounded by universities!) The Los Angeles public library seems to have some from the 1920’s — but whether they are actual, bound magazines or black and white films, the librarian couldn’t tell me — and I’d have to take a vacation to visit them.

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Delineator cover by Dynevor Rhys, 1933. Who knew green and orange could look so sophisticated?

So, it’s time for me to spend a few weeks visiting the bound periodicals I love so much right here in San Francisco — a working vacation, but overdue.  I particularly want to research and document the sudden transition in styles between 1929 and the early thirties — but if you have a favorite year between 1900 and 1920 I could dip into, I do enjoy a bit of variety! Please use the comments section for suggestions (no promises, but….)

Meanwhile, Oldies but (I Hope) Goodies

Five years ago I found those magazines were full of things that really excited me, so I shared them — not just patterns, but articles and ads about everything from breast flattening corsets to family budgets, and new items like Knee-High stockings (1930s) and paper towels (people had to be taught what to do with them!) If you’re curious about a woman’s clothing budget in 1924 and in 1936, click here. For a family budget in 1925, click here. From the Great Depression year of 1936, I found a budget and related items about “Living on $18 per Week.” Click here.

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I’m hoping that new followers (bless you, every one!) will enjoy getting links and brief introductions to some of those blog posts from the past — so I will post a group of links regularly instead of writing entire new posts for August. I’ll try to group them by topic.

For a start, here are a few posts that highlighted the unexpected color combinations of the 1920’s:

A Lament for Bound Periodicals  (posted in February, 2015)

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A bridal party in shades of orange, 1924. Delineator magazine.

Orange and Blue in the Mid-Twenties  (posted in December 2015)

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Blue and orange are complementary colors — they make each other look more intense, as in this illustration. Right, orange and black are combined in a young woman’s dress; Delineator, February, 1925.

1920’s Orange and Black: Not Just for Halloween   (from October 2014)

Colorful Fashions for April, 1926  (from April 2017)

This "Aztec" pattern hand painted shawl was made in the Samuel Russel Studio, New York, and illustrated by Katharine Stinger for an Ivory Soap Flakes ad. Delineator, March 1927.

The Colorful Past  (from February 2014)

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And so to bed…. Do you dream in color? I do.

I’ll have many new images to share by September!

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Filed under 1920s, 1920s-1930s, 1930s, Musings, Nightclothes and Robes, Old Advertisements & Popular Culture, Sportswear, Vintage Accessories

Fashion Advice for Summer, 1933 (Part 1)

Five tips for summer fashions from June 1933. Left is Butterick 5149. Delineator, page 61.

I seem to be spending a lot of time in 1933 lately. Marian Corey, writing in Delineator, June 1933, offered a full page of advice about summer fashions:  Five ideas starting with “Yes” and five with “No.”

As the really hot weather approaches, here’s one topic Corey thought we all have on our minds: Gloves!

Glove advice from Delineator, June 1933.

“… Gloves of all sorts of queer fabrics. Printed silk gloves to match your frock and sometimes sold with the dress! White organdy gloves to wear with your dark dress that has white organdy touches on it. White piqué gloves to wear with your tailored suit. Lastex gloves. Fit? They don’t have to . It’s smart to wear them big.” (Lastex stretch fabrics were introduced in the early 1930s — which is different from Latex, which was sometimes used for rubber bathing suits!)

Matching print fabric gloves, hat and bag — all made from Butterick patterns. Delineator, August 1933, p. 52.

Organdy gloves and handbag, “to wear with your dark dress that has organdy touches on it.” August 1933, Delineator, p. 52.

Three Butterick dresses with organdy accents, Delineator, June 1933, p. 64. Notice the sheer areas in the sleeves. 5186 used a heavier, stiffer organdy.

It should be noted that fashion advice from Delineator magazine — not coincidentally –often mentioned Butterick patterns. Delineator was part of the Butterick Publishing Co. empire.

White piqué hat (Butterick 5256,) gloves (Butterick 5225,) and bag (Butterick 5274.) Delineator, August 1933.

Maybe Ms. Corey mentioned that gloves no longer needed to fit [“like a glove?”] because making gloves is difficult. Store-bought gloves used to come in a wide range of sizes, not just S, M, and L. Here’s what she said in a longer article:  “…Don’t worry if your gloves do not fit closely. They are not supposed to.”

Glove advice from Marian Corey, Delineator, August 1933.

Butterick glove pattern 5225 from July 1933, Delineator. This pattern was featured in both July and August.

“At first the loosely fitting glove seems clumsy…. All are worn big.” The gloves worn with these summer dresses are more like gauntlets:

Dresses worn with gloves made from Butterick 5225, July 1933. Delineator.

Gloves and a bag made from taffeta; Butterick patterns, August 1933.

More accessories made of piqué ; Butterick patterns from Delineator, August, 1933, p. 52. The illustrator is Myrtle Lages.

OK, I confess, the “No” paragraph about gloves was not really the first paragraph of the article about Summer fashions. The first paragraph was a “Yes” — about fur!

“Silver fox and blue fox are the furs” for trimming summer dresses,” or rabbit if your budget is more modest. Delineator, June 1933.

Butterick summer outfits trimmed with fur: From left, patterns 5176, 5178, and 5168. Delineator, June 1933, page 62.

Another “Yes” for summer was the white piqué swagger coat:

Butterick coat pattern 5164 from June 1933.

Everyone who owns a dark printed silk dress… should have a white piqué swagger coat to wear with it.” Butterick 5164; Delineator, June 1933, p. 62.

This style was only available in smaller sizes — an early use of “Junior Miss” patterns.

So, fur and gloves aside, what more practical fashions for summer were recommended in 1933?

Bicycle clothes, tennis dresses, beach pajamas, slacks and shorts — all coming up in Part 2.

 

 

 

 

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Filed under 1930s, Accessory Patterns, bags, Gloves, handbags, Hats, Purses, Vintage Accessories