Tag Archives: Delineator magazine

The Second Dart: A 1920’s Pattern Alteration for Busty Women

“The Reason for the Second Dart,” by Sarah Churchill. From a series about sewing pattern alterations that appeared in Butterick’s Delineator magazine in the 1920’s. This is from the July 1927 issue, page 26.

We tend to think of nineteen twenties dresses as shapeless tubes, but that’s not necessarily true. Dresses might have shirring or smocking or pintucks to create a small amount of fullness over the bust, or they might have a small bust dart — or even two!

This brief article from Butterick’s Delineator magazine shows how to alter a dress pattern to accommodate a full breasted figure.

The woman with a lorgnette (!) advises her friend on the way to eliminate a fitting problem caused by a larger than average bust.

The cut out dress is pinned together and tried on inside out. You can see that the pattern does have a bust dart in the side seam, but the dress fits poorly. The side seam curves toward the front. (And the dart seems too high….)

” ‘I cut this dress by those instructions you are always cheering for,’ announced the young woman of the illustration, ‘but it scoops in under me in the back and sticks out in front, and whatever does this queer long wrinkle mean?’ It meant, that ‘queer’ wrinkle, running from the bust to the underarm seam in a long curving sweep, the the frock was pushed out of place by the bust. This in turn, meant that the bust is larger than is average. The type of figure which is very full in the bust is often correspondingly narrow through the back, and the sum total of inches registered by the tape measure will indicate an average size for a figure not actually average.” — Sarah Churchill

This reminds me of the fitting room saying that “The wrinkle points to the problem;” that long wrinkle starts at the side seam and points up, toward her bust point.

This woman does not have an “average” twenties’ figure. (And clearly, she is not wearing a bust flattener.)

The problem of buying patterns (or, worse, brassieres) by the measurement taken around the fullest part of the bust is not new to me. A friend who is 5′ 10″ and athletic wears a size 38 A bra. She has a big ribcage (37″), a broad back, and small breasts. But another woman who also measures 38 inches around the fullest part of the bust may have a narrow back, a 34 inch ribcage and large breasts. Her bra size would be 34 D. And that is the kind of figure that the woman in these illustrations has.

“However, all is not lost. The frock merely needs a little adjusting — another dart to the front at each side.”

The extra fabric that created the long wrinkle is pinched out by unpinning the side seam and creating a second bust dart, which pulls the side seam into a line perpendicular to the floor. Delineator article, July 1927.

“This gives the bust the room it needs and the frock falls as it should. The back is now an inch or so longer than the front. We shall cut this off with a free hand swing since it is a one-piece frock and no complications to be encountered, and all will be well. The frock now hangs smartly. In this case, chic depended on a little dart!” — Sarah Churchill, Delineator, July 1927, p. 26.

After the second dart is created, the side seam hangs correctly and the full bust does not distort the dress.

“To those who wonder why I did not deepen the dart already in the frock, I would point out that a second dart distributes the fullness with better effect. [W2F: I also suspect that, since the dress is already cut, there might not be enough seam allowance for one, deep dart.] However, if the frock had started out with two darts, I would have deepened both evenly…. For the depth of the dart, experiment until the frock hangs straight.” — Sarah Churchill

Churchill goes on to explain that, if the back of the dress were not one, simple piece — [if, perhaps, it had a hip girdle or a separate, pleated skirt piece] — then the whole back would need to be recut, eliminating the extra inch by placing the pattern on top of the fabric and recutting the neck, shoulder, and armholes to raise the back by an inch (or whatever length the extra dart had removed in front.)

Voila!

Before and after the dress alteration which added a second dart. Delineator, July 1927, p. 26.

For anyone who has ever struggled to recreate 1920’s styles — under the assumption that bust darts were never used — this advice from 1927 should make you feel better. Here’s a 1925 illustration of a suit from Chanel — with a bust dart.

https://witness2fashion.files.wordpress.com/2014/04/1925-jan-designers-chanel.jpg?w=500

 

 

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Filed under 1920s, Resources for Costumers, Tricks of the Costumer's Trade

A One-Trunk Vacation Wardrobe Designed in Paris, March 1927

Delineato magazine cover, March 1927. Illustration by Helen Dryden.

Delineator magazine cover, March 1927. Illustration by Helen Dryden.

By February or March, those who could afford to take a break from winter weather — and those who just wanted to daydream about doing it — could read about resort wear.
In a two page spread, Delineator assured readers that all these authorized copies of French designer fashions would fit into just one trunk.

Informal coat by Paquin, Delineator. March 1927, p. 18.

Informal coat by Paquin, Delineator. March 1927, p. 18. The mole collar is dyed green to match the cloth coat; the hat is by Reboux.

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Sporty day outfits combine a sweater and pleated skirt. Delineator, March 1927.

Sporty day outfits combine a skirt and lacy sweater, left,  or a printed silk “jumper” and coordinating skirt by Goupy, right. Delineator, March 1927. These imported fashions could be purchased in New York stores.

A bathing suit and beach robe by Lelong. Delineator, March 1927.

A bathing suit and beach robe by Lelong. Delineator, March 1927. The ingeniously cut wrap reverses from jersey to toweling. The bathing suit is cut low in back to produce a tan the same shape as an equally low cut evening dress.

For more about the fad for suntans in the 1920’s, click here. For more about composé colors, click here.

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A more formal dress and matching coat ensemble designed by Berthe are worn in the late afternoon. Delineator, March 1927.

A more formal afternoon dress and matching coat ensemble designed by Berthe are worn in the late afternoon. Delineator, March 1927. The matching mauve coat is 7/8 length. The straw hat by Agnes (left) “has the new front-peak silhouette.”

The somewhat similar draped hat on the magazine’s cover, illustrated by Helen Dryden, shows a “peak” that is pinned up, away from the face.

A rose colored outfit is accented with emeral jewelry in this stylized image by Helen Dryden. March 1927.

A rose colored outfit (or is it mauve?) is accented with emerald jewelry in this stylized image by Helen Dryden. March 1927.

A gold lame evening wrap by Vionnet is show with a "bolero" dress by Chanel. Delineator, March 1927, p. 19.

A gold lamé evening wrap by Vionnet, “striped with silver” and trimmed with gold fox fur, is shown with a “bolero” dress by Chanel in white Georgette trimmed with jewels and silver. Delineator, March 1927. page 19.

An evening dress made of lace. Delineator, March 1927.

An evening dress made of lace. “Rose silk lines the fur bows.” The tiers of the skirt “extend all the way to the shoulder in back.” Delineator, March 1927. No designer was named.

The Chanel evening dress was imported by Lord and Taylor; the other French afternoon and evening clothes were available from John Wanamaker.

Fashion Illustrator Myrtle Lages

The illustrations from pages 18 and 19 are by Myrtle Lages. Here are some Lages signatures, which usually appeared subtly at a lower corner of the image. I had to enhance some of these to improve legibility.

Lages (Myrtle Lages) worked as a fashion illustrator for Delineator, which often used one illustrator for an entire article. Lages usually squeezed her signature modestly into the lower corner of one illustration (probably magazine policy.)

Lages (Myrtle Lages) worked as a fashion illustrator for Delineator, which often used one illustrator for most of the pattern illustrations in an issue. Lages usually squeezed her signature modestly into the lower corner of one illustration (probably magazine policy.) Delineator magazine was owned by Butterick.

Lages’ signature varied between the faint and stylized vertical one, giving last name only, to the carefully written full name, as in September 1933. When Delineator switched to black and white line illustrations plus one color, Lages had no problem adjusting her style.

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 for Delineator, May 1927.

Lages pattern illustration, Delineator, August 1927. Butterick 1555, 1589, 1573, 1384.

Myrtle Lages pattern illustrations, Delineator, August 1927. Butterick 1555, 1589, 1573, 1384.

According to her obituary, Myrtle Lages (married name Whitehill) worked as an illustrator for Butterick for more than forty years. A graduate of Parsons School of Design, she died in 1994, aged 98.

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Filed under 1920s, Bathing Suits, Hats, lingerie and underwear, Swimsuits, Vintage Couture Designs

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.

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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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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.

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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

Butterick Forecast Wardrobe Patterns, 1927 to 1928

I don’t collect patterns or sell them anymore, so I feel a little weird about finding another category of rare Butterick patterns. These are proving difficult to research, simply because they appeared in a few issues of Delineator with no fanfare (as far as I know,) and then no more was seen of them — at least, not by me.

Forecast Wardrobe from Delineator, November 1927, p. 26. The Butterick pattern numbers are, from left, 9-D, 9-C, 9-B and 9-A. These patterns cost more than four-digit Butterick patterns.

Forecast Wardrobe from Delineator, November 1927, p. 26. The Butterick pattern numbers are, from left, 9-D, 9-C, 9-B and 9-A. These patterns cost a dollar each.

These “forecast wardrobe” patterns are peculiar for two reasons:

  • They are outside the usual four-digit numbering sequence.
  • They cost $1.00 each at a time when most Butterick patterns cost from 25 to 50 cents.
Detail from a Butterick pattern price chart, Delineator magazine, January 1928, page 92.

Detail from a Butterick pattern price chart, Delineator magazine, January 1928, page 92. Pattern numbers and prices in cents. A chart of current pattern prices appeared in every issue.

I stumbled upon a two-page spread of “Fashions of the Forecast Wardrobe” in the January 1928 Delineator [Butterick’s magazine for women,] and didn’t see anything special about them except the odd numbering: 10-A, 10-B, etc.

"Daytime Fashions of the Forecast Wardrobe," Delineator, January 1928, p. 30. From left, Butterick patterns 10 B, 10 F, 10 A and 10 C.

“Daytime Fashions of the Forecast Wardrobe,” Delineator, January 1928, p. 30. From left, Butterick patterns 10 B, 10 F, 10 A and 10 C.

It was the price chart — which appeared at the back of every issue in the late 1920’s — that surprised me.

A typical Butterick Price Chart like this allowed Delineator readers to order by mail. January, 1928. It also helped me to date Butterick patterns.

A typical Butterick Price Chart like this allowed Delineator readers to order by mail.  It also helped me to date Butterick patterns. This one appeared in January 1928.  (Three-digit numbers are craft patterns.) The dollar patterns at the bottom are unusual; other prices are given in cents [Cts.]

I started looking through the previous years — 1927 and 1926 –expecting to find a regular series, but have only discovered five sets of “Forecast” patterns so far, starting with the four-pattern group beginning with 8 (8 A, 8 B, 8 C, and 8 D) in October of 1927 — and those patterns did not appear on the October price chart.

Butterick patterns 8-A through 8-D appeared in an article on wardrobe planning, Delineator, October 1927, p. 26. There was no mention in the article of the patterns' prices.

Butterick patterns 8-A through 8-D appeared in an article on wardrobe planning, Delineator, October 1927, p. 26. There was no mention in the article of the patterns’ special prices.

The group numbered 9 (9 A, 9 B, 9 C, 9 D) was illustrated in the November 1927 Delineator, again without appearing on the price chart.

Butterick patterns 9-A through 9-D appeared in November, 1927, with recommended accessories. Delineator, p. 26.

Butterick patterns 9-A through 9-D appeared in November, 1927, with recommended accessories. Delineator, p. 26.

In January 1928, the eight-pattern Number 10 series was luxuriously illustrated (on the S.S. Ile de France) by L. Frerrier, and showed up on the pattern chart with that $1.00 price, finally giving me an idea why these “Forecast” patterns were special. Series Number 9 patterns were on the January price chart, too.

Butterick "Forecast" patterns 10 D, 10 H, 10 E, 10 G. Illustrated by L. Frerrier for Delineator, January 1928, p. 31.

Butterick “Forecast” patterns 10 D, 10 H, 10 E, 10 G. Illustrated by L. Frerrier for Delineator, January 1928, p. 31.

Another eight-pattern Forecast wardrobe (11 A through 11 H) appeared in March, 1928 — again, a two page spread. The final group of eight (12 A through 12 H) appeared in June, but Frerrier’s illustrations were crammed into just one page. I haven’t gone through 1929 Delineators page by page, but there were no more Forecast patterns in 1928. As Kermit T. Frog would put it , “What the Hey?”

Butterick Forecast patterns 11-C, 11-D, 11-B, and 11-A, from March 1928. Delineator, p. 30.

Butterick Forecast patterns 11-C, 11-D, 11-B, and 11-A, from March 1928. Delineator, p. 30.

I don’t see anything special about the designs of Forecast Wardrobe patterns; in fact, some of them look a bit dowdy. And, as for predicting future fashions — well, if anyone could do that with absolute accuracy, that person would be very rich.

As I work through Delineator magazines for 1928, I’ll be keeping an eye out for these designs; did they reappear with normal numbers and normal prices as time went by? In what way were they “forecast?” And what made them cost twice as much as other patterns?

Has anyone found a vintage Butterick pattern with these peculiar numbers? Did they appear in the store pattern catalogs or store flyers? And, are there more than thirty-two of them (four  in October 1927,  four in November 1927, and eight per month in January, March, and June of 1928?)

I’ll be sharing details of the patterns in later posts; after the library retrieves the bound volumes for 1927 and 1928 from off-site storage, I’ll be reading through their masthead pages in case “Forecast” patterns were announced there. For now, I’m just sharing the mystery.

 

 

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Filed under 1920s, bags, handbags, Purses

Colorful Dresses for May 1926

A page of Butterick patterns from Delineator, May 1926. Illustrated by Marie L. Britton.

A page of Butterick patterns from Delineator, May 1926. Illustrated by Marie L. Britton. Page 29.

If you were looking for summer dress ideas in May, 1926, you might have found inspiration in these Butterick patterns from the Delineator. As often happens, the dresses for “Misses 15 to 20 and small women” show the hemlines that older women would adopt a couple of years later. The full-page colored illustrations were done by Marie L. Britton.

A full page of Butterick fashions for young women, Delineator, May 1926.

A full page of Butterick fashions for young or small women, Delineator, May 1926. Page 27.

I’ll be showing the tops and bottoms of four color pages, but here are a few trends to look for:

Border prints, fashionable in 1925, continue to add charm to 1926 dresses. I especially like the yellow one on the left. Both use the border print at the bottom of their sleeves.

Butterick patterns 6788 and 6779 show how much a border print can contribute to the charm of a one-or two piece twenties dress. Delineator, May 1926.

Butterick patterns 6788 and 6779 show how much a border print can contribute to the charm of a one-or two piece twenties’ dress. Delineator, May 1926.

Both of those patterns also have a sleeve that continues into the yoke, called a saddle shoulder.

Ruching (several parallel lines of gathering) guarantees a snug fit at the hips of these dresses:

Butterick patterns 6817, 6777, 6760 and 6779 use ruching to create a snug hip band. Delineator, May 1926.

Butterick patterns 6817, 6777, 6760 and 6779 use ruching to create a snug hip band. Delineator, May 1926. The very short dress is for girls 15 and under.

Sewing tip: if you don’t want the ruching threads to break, sew a flat panel of sheer fabric matching the slip, and cut to hip size, under the ruching.  (In the 1970s or 1980s, dresses used elastic thread for a similar effect.) To control the blousing, the hip band can be attached to the under slip.

Embroidery, popular in the 1910’s and twenties, adds a custom touch to some of these dresses, although the embroidery was optional. Just a touch of embroidery on the sleeve is a surprise on a rather severe pleated dress (center.)

Embroidery trimmed dresses for women and little girls in the twenties. Delineator, May 1926.

Embroidery-trimmed dresses for women and little girls in the twenties. Delineator, May 1926.

The dress in the middle also has a saddle sleeve — plus another mid-twenties feature so common I almost forgot to mention it: long ties or streamers in front, often part of the collar.

The 1920’s fashion ideal was youthful and slender, but the 1920’s feature we all notice — a horizontal line across the hip, which is the widest part of a woman’s body — was the opposite of slenderizing. You can find many strategies for creating a vertical line in the twenties — including those long 1920’s necklaces — but the most common styling trick is long ribbons or ties down the center front.  Often a band which enclosed the back of the neckline became long ties falling down the front of the dress. Even the coat (below left) has them.

Here are the full images of these — and other — outfits for summer, 1926.

Butterick patterns for young or small women: 6771 (plus a tam-o-shanter hat,) 6775, 6744, and 6788. Delineator, May 1926, p. 27.

Top of page 27, Delineator, May 1926. Butterick patterns for young or small women: coat 6771 (plus a tam-o-shanter hat,) dresses 6775, 6744, and 6788.

Butterick patterns for young or small women, Nos. 6777, 6801, 6718, 6791. Delineator, May 1926, p. 27.

Bottom of page 27, Delineator, May 1926. Butterick patterns for young or small women, Nos. 6777, 6801, 6718, 6791.  The lavender dress may be a border print; no embroidery pattern is cited. The red dress has a saddle shoulder and rows of yellow decorative top-stitching on collar, cuffs, and pockets.

Women's patterns from Butterick, Nos. 6765 (plus a turban, No. 6634,)No. 6823 (open dress and slip,) and dress No. 6781. Delineator, May 1926, p. 28 top.

Top of page 28, Delineator, May 1926.Women’s patterns from Butterick: far left is dress No. 6765 (plus a turban, pattern 6634,) the blue outfit is No. 6823 (open dress and slip,) and green print dress No. 6781 is at far right.

Bottom of page 28, Delineator, May 1926. Butterick patterns 6796, 6767, and 6817.

Bottom of page 28, Delineator, May 1926. Butterick patterns 6796 (far left), 6767 (in black), and 6817 (far right).

Top of page 29, Delineator, May 1926. Butterick patterns 6785, 6763, and 6787.

Top of page 29, Delineator, May 1926. Butterick patterns 6785 (far left), 6763 (in black), and 6787 (far right). At far left, the collar binding turns into very long streamers.

Bottom of p. 29, Delineator, May 1926. Butterick patterns 6792, 6779, 6759.

Bottom of p. 29, Delineator, May 1926. Butterick patterns 6792, 6779, 6759. Notice the stocking colors.

Number 6759 (at right) has a half cape in back. So does Number 6765 (page 28 top left,) the red and black dress with a pleated skirt — and a pleated back-cape.

Top of page 30, Delineator, May 1926. Butterick patterns for children and young teens.

Top of page 30, Delineator, May 1926. Butterick patterns for children and young teens. Top left is a little boy.

Bottom of page 30, Delineator, May 1926. Butterick patterns for children and young teens.

Bottom of page 30, Delineator, May 1926. Butterick patterns for children and young teens. (I love the play of stripes on the far right!) The two middle-school aged girls on either side have mid-knee hemlines.

 

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Filed under 1920s, Children's Vintage styles, Tricks of the Costumer's Trade, Vintage Accessories, Vintage patterns

Smart Dresses for Summer, 1928

This is a full page article from Delineator, June 1928. Seven Butterick patterns are illustrated in full color, as if the seven models were on a rather formal family outing to a park.

"New Smartness," Delineator, June 1928, page 32. These are Butterick patterns for women and girls.

“New Smartness,” Delineator, June 1928, page 32. These are Butterick patterns for women and girls.

The blouson effect, with a wide, tight hip band — called a girdle — was chic in 1928.  If you want to make a dress like this, attaching it to an underbodice will suspend the weight of the skirt from your shoulders, keeping the blouson in place.

Closer views, followed by their pattern descriptions:

Butterick patterns 2074, 2078, 2026 and 2071. June, 1928.

Butterick patterns 2074, 2078, and 2026. June, 1928.

Butterick patterns 2071, 2065. 2024, and 2068. June, 1928; Delineator magazine.

Butterick patterns 2071, 2065. 2024, and 2068. June, 1928; Delineator magazine.

Pattern descriptions and alternate views:

Closer views of Butterick dresses 2074, 2087, and 2026. June, 1928.

Closer views of Butterick dresses 2074, 2078, and 2026. June, 1928.

The printed chiffon dress is an afternoon dress, worn for dressier occasions than shopping. This pattern could be purchased for bust measurements up to 46 inches. The corresponding hip measurement would be about 49″.

2074 text

The pink dress could have long or short sleeves, and be gathered or pleated.

2078 text

The print dress at far right is surprisingly “an afternoon frock of the more formal type” made in silk crepe, satin or rayon. More formal than chiffon?

2026 text

These two dresses are for girls. The smocked dress on the left could also be made in a long sleeved version. Since smocking requires time-consuming hand sewing, machine shirring was also a possibility.

Closer views of girls' dresses 2071 and 2065. Butterick patterns for June 1928.

Closer views of girls’ dresses 2071 and 2065. Butterick patterns for June 1928.

2071 2065 text

Butterick 2024 and 2068. June, 1928.

Butterick dresses 2024 and 2068. June, 1928.

I suspect that many women made this print dress without the cape in back. Border print fabrics gave 1920’s dresses like this one their impact, although solids and small prints could also be used.

2024 text

No. 2068 was a pattern that could be used for day (with long or short sleeves) or modified for evening wear by making it sleeveless, with a deeper cut neckline and armholes.

2068 text

Bodice tucks on No. 2068 would allow for feminine curves. 1928.

Bodice tucks on No. 2068 would allow for (modest) feminine curves. 1928.

The lines of tucks on the bodice front (right) remind us that by 1928 breasts were no longer being flattened by young women, although older women might continue to wear a foundation like this “Bien Jolie corsette.”

Ad for a "Bien Jolie" ["Very Pretty"] foundation garment. Delineator, February 1926.

Ad for an “exquisite” “Bien Jolie” [“Very Pretty”] foundation garment. Delineator, February 1926. A garment like this shapes the body like casing shapes a sausage.

 You can read more about corsets and corsolettes by clicking here. For bust flatteners and bandeaux, click here.

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Filed under 1920s, 1920s-1930s, Children's Vintage styles, Hats, Old Advertisements & Popular Culture, Tricks of the Costumer's Trade, Uncategorized, Vintage Accessories, Vintage patterns, Vintage Styles in Larger Sizes