Tag Archives: Doucet

Fashions from Paris, January 1924

Illustration from January 1924 Deliineator. Not by Soulie.

An illustration — not by Soulie — from January 1924 Delineator. 

 

“Soulié’s Sketches Sent from The Delineator’s Paris Establishment Draw Attention to Godets, Princess Lines, and Frills Flat or Otherwise.” — Headline in Delineator Magazine, January 1924

Butterick Publishing Company kept an office in Paris for the purpose of following the  latest fashion trends and reporting on them. (Not to mention producing Butterick patterns based on those trends.)

In January of 1924, Soulié sketched designs by several well-known Paris houses:  Patou, Agnès, Doucet, Louise Boulanger, and Poiret. Since Downton Abbey’s current season is set in 1924, this seems like a good time to show some 1924 French designs. (Even though my real interest is in clothing for ordinary people, the influence of major French designers always percolates down through the department stores and pattern houses.)

Jean Patou

A coat (left) and a suit (right) by Jean Patou, January 1924. Sketches by Soulié for Delineator magazine.

A coat (left) and a suit (right) by Jean Patou, January 1924. Sketches by Soulié for Delineator magazine.

“A coat that has quite the cut of a suit is made by Patou of black kid lined throughout with persisky — a form of civet — and trimmed with straps.”  [In other words, this is a soft leather coat lined with fur.]

“Flat frills begin where the straight coat ends in a suit of green fulgarante with a knee-length bodice of green and gold brocade with collar and cuffs of gray fox. From Jean Patou.” [“Fulgarante” is apparently one of those words with a specialized meaning to fashion writers; it is Spanish for “blazing.”]

Agnès

A suit and a dress designed by Agnès and sketched by Soulié for Delineator, Jan 1924.

A suit and a dress designed by Agnès and sketched by Soulié for Delineator, Jan 1924.

“Suit coats are of all lengths and many cuts, but the string-tied jacket and narrow skirt remain as popular as ever. Agnès uses them for a suit of beige zibella velours de laine with bearskin collar and cuffs.” In January of 1913, the New York Times reported that “Velour de laine, that soft, silky woolen tissue that arrived in the Autumn and was so popular till satins and silks usurped its place later, has now reappeared ….” [ Velours means velvet, laine means wool, and zibella is a mystery to me!]

“Gold braid underscored with rose-colored embroidery binds the slashed edges of an overdress and tunic of black crêpe marocain.  The foundation is narrow, the sleeve short, and the length about eight inches from the floor. From  Agnès.” You can find out more about Agnès, and see one of her dresses, at 1stdibs. Click here.

Paul Poiret

A Dress and a cape-like coat by Paul Poiret, sketched by Soulié for Delineator, January 1924.

A dress with metallic threads and a cape-like coat by Paul Poiret, sketched by Soulié for Delineator, January 1924.

“For the new note of gorgeousness that the French dressmakers are introducing, Poiret uses embroidery of silver and gold on a dress of blue poplacote moire.” [Poplacote is another term my search engine has never encountered.]

“Poiret uses suède-colored sapho velvet trimmed with civet cat for a wrap that hides the fact that it is a coat under cape-like sides lined with black satin.” There is a brief biography of Paul Poiret at Encyclopedia Britannica (click here).  The Metropolitan Museum devoted an exhibition to Poiret in 2007; click here to visit it online. You can see his iconic “lampshade” dress of 1912 in the collection of the Victoria and Albert Museum. Click here. (Be sure to look at the second image — the color and beadwork is lovely.)

Louise Boulanger [She later designed as Louiseboulanger.]

A coat and a dress from Louise Boulanger, sketched by Soulié for Delineator, January 1924.

A coat and a dress from Louise Boulanger, sketched by Soulié for Delineator, January 1924.

“The Ladies’ Book of 1924 is to show godets in skirts and capes according to an interesting coat of green wool duvetyn [a brushed woolen fabric] with a civet collar from Louise Boulanger.” You can see another 1920s dress by Louiseboulanger in the collection of the Metropolitan Museum. Click here.

“Also from Louise Boulanger comes a dress of bright blue matelassé flared at the foot, banded low on the hip and embroidered in gold on copper at the V neck.”  [The Fashion Model Directory says Louise Boulanger worked for Cheruit until 1927, but the Delineator attributed these designs to her in 1924.]

Doucet

Two evening gowns by Doucet, sketched by Soulié for Delineator, January 1924.

Two evening gowns by Doucet, sketched by Soulié for Delineator, January 1924.

“Doucet’s characteristic elegance speaks for itself in an evening gown of steel lace over a blue silk slip.  A girdle of blue chenille fringe is clasped with a  motif of diamonds and blue stras. [Stras is a type of artifical jewel.]”  The illustration shows the shoulder drape of the the black dress on the right hanging confusingly in front of the light-colored dress on the left — it does not have a black panel in front! You can read more about Jacques Doucet at Fashion Model Directory; click here.

“The new princess line, flat, beltless and narrow, shows itself to great advantage in a Doucet gown of black crêpe velours embroidered with blue and gold Chinese motifs.”

A Few Observations About These Fashions from  January 1924

  • Skirts are still quite long — only 8 inches from the ground.
  • All the models have short, “bobbed” hair.
  • Most of these designs have strong accents at the hip; only the heavily embroidered  Doucet  gown is a tube.
  • The “princess line” is “new.”
  • Fur adds a note of luxury to all the daytime fashions, either as collars, cuffs, belts, (even coat lining,) or carried as a stole or muff.
  • Soulié has drawn most of the models wearing rather high heels, which means the skirts are very long to still be 8″ above the floor.

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Filed under 1920s, Exhibitions & Museums, Hairstyles, Vintage Accessories, Vintage Couture Designs

Online Research Tool: UCLA’s Digital Fashion and Costume Collections

Image from Godey's Magazine, 1841, found through UCLA's Digital Image Collection. Casey Fashion Plates  rbc2847

Image from Godey’s Magazine, April 1841, found through UCLA’s Digital Image Collection. Casey Fashion Plates rbc2847

UCLA Library Digital Image Collection: Online Collections Related to Fashion and Costume

While following up recommendations for online Museum collections, I accidentally discovered this wonderful site, which I have barely begun to explore.  It acts as a portal to many online collections and research materials. The entire UCLA Library Digital Image Collection must be huge (click here  to see the Fashion home page), since there are dozens of sites (with descriptions and live links) related to just the site for Fashion and Costume (click here).  For a list of accessible fashion magazines and newspapers, click here. Below you’ll find just a small selection of the extraordinary collections you can find through the Digital Image Collection.

Casey’s Fashion Plates

The image at the top of this page is from the collection of Casey’s Fashion Plates at the Los Angeles County Library — over 6200 images of hand-colored fashion plates. (Click here.)

“The Joseph E. Casey Fashion Plate Collection at the Los Angeles Public Library contains over 6,200 handcolored fashion plates from British and American [and other] magazines dating from the 1790s to the 1880s. All of the plates are indexed and digitized for online viewing.” It includes thousands of dated images from early 1800’s sources, including Ackerman’s Repository, Godey’s Magazine, Ladies’ Museum, Ladies’ Magazine, La Belle Assemblee, Petit Courrier des Dames, and many, many more.

This digitized collection is really user-friendly, grouping the plates by date instead of by source. (You could search by magazine name if you wanted to.) You can search by date, too. Type in a year and pages and pages of plates appear. I chose 1815; this is one of many images that I found.  (Let’s pretend it’s Jane Austen and her sister, Cassandra.)

Fashions for March, 1815; image rbc0500 in the Casey Collection.

Fashions for March, 1815; image rbc0500 in the Casey Collection.

Brooklyn Museum’s Henri Bendel Fashion and Costume Sketch Collection

From the Bendel collection: Design by Lanvin, 1917.

A typical digitized sketch from the Bendel collection: Design by Lanvin, 1917.

Another wonderful collection accessible through the UCLA site is the Henri Bendel Fashion and Costume Sketch Collection 1912 to 1950. (924 images are online at present) This archive is in the possession of the Brooklyn Museum, but you don’t have to go to Brooklyn to see hundreds of sketches of dresses (and even bathing suits), including many designer names. (Click Here.)

It’s also well-thought out: when your mouse hovers over the thumbnail image, a description and date appears. Click to get a larger view and more data. There are over 11,000 sketches in the Bendel Collection, but most of the 924 that are online are for the era 1912 to early 1920s. (They are gorgeous, and most are in color! If you are a fan of styles from the Titanic era and the first years of Downton Abbey, prepare to spend hours here.) I saw designs attributed to Doucet, Worth, Callot Soeurs, Lanvin, Premet, and many other “name designers.” Among the few sketches from the 1930’s that have been put online was this evening gown by Schiaparelli:

From the Henri Bendel Collection online; Schiaparelli, 1934.

Image from the Henri Bendel Collection online; Schiaparelli, 1934.

Bonnie Cashin Collection of Fashion, Theater, and Film Costume Design

“The collection contains Bonnie Cashin’s personal archive documenting her design career. The collection includes Cashin’s design illustrations, writings on design, contractual paperwork, photographs of her clothing designs, and press materials including press releases and editorial coverage of her work.”

Lovers of Bonnie Cashin designs will enjoy the photos and design sketches of many of her classic coats, knits, etc.  (Click here.) The images are under copyright, but you can see a sample sketch for a characteristic tweed coat by clicking here. If you searched a little longer, you could probably find a photo documenting the finished coat. This is a huge archive.

You can also see more about Bonnie Cashin at the next online collection I’ve chosen from UCLA’s Digital Image Collection:

The Drexel Digital Museum Project Historic Costume Collection

The collection is searchable, (and images are under copyright) but this link will take you to the Galleries page — which includes slide shows of Bonnie Cashin clothes and Villager Sportswear textiles! Click here.

“The Drexel Digital Museum Project: Historic Costume Collection (digimuse) is a searchable image database comprised of selected fashion from the Robert and Penny Fox Historic Costume Collection (FHCC), designs loaned to the project by private collectors for inclusion on the website, fashion exhibitions curated by Drexel faculty and fashion research by faculty and students. To best present and create access to this online resource, the image standards of the Museums and the Online Archive of California initiative and the metadata harvesting protocols of the Open Archive Initiative have been implemented to insure sustainability, extensibility and portability of the digimuse digital archive.” —

A World of Riches, Digitized

I will add some of these links to my sidebar of “Sites with Great Information,” so they will be easy to locate in the future. But first, I’m going take a coffee break and read a copy of the French Vogue, February 1921 (click here) thanks to the UCLA Library’s Digital Image Collection!

 

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How to Look Thinner in the 1920s, Part 1: Wear a Corset or Corselette

 

Paris designs, Delineator, January 1925. From Left: Doucet, Lanvin, Molyneux, Premet, Chanel.

Paris designs, Delineator, January 1925. From Left: Doucet, Lanvin, Molyneux, Premet, Chanel.

In the July, 1925 issue of Delineator magazine – published by the Butterick Publishing Company — columnist Evelyn Dodge gave the following advice on looking slender while wearing 1920s fashions. I will divide it into three parts — proper corsets, proper lingerie, and proper sizing and styles. I have already exerpted part of her article in Underpinning the Twenties: Corsets and Corselets.  I will add illustrations from Delineator and other sources, and my own comments.

How to Reduce Your Hips Three Inches – 1925

“My subject this morning, dear friends, I know you will find delightful. My text is ‘How you can reduce your hips three inches in three minutes without diet, drugs or exercise and still eat your way through June without giving up strawberry shortcake, asparagus, and any of the other pleasures of the season. . . .’

“I can’t tell you how you can become slender, but I can show you very easily how you can look several inches slighter and thirty or forty pounds lighter than you do now. Almost any woman can reduce her actual measurements appreciably by proper corseting, proper lingerie and the proper size clothes. Old shapeless corsets with bent and bulging bones, too much lingerie cut on too wide lines and made of clumsy materials, clothes that are too large, too long and too wide for the present fashion will make a mountain out of any feminine molehill.”

[Comment: As a costume designer, I could usually create the illusion that a 145 pound actress weighed 133 pounds (or that my 160 pound self weighed 10 pounds less), but erasing forty pounds is promising a lot! As an opera designer once told me, “You can create visual illusions with costumes — up to a point, but there’s only so much that vertical lines can do for a singer who’s built like a tugboat.” ]

The 1920s Ideal Figure

Butterick patterns, June 1925. Delineator.

Butterick patterns, June 1925. Delineator.

In 1925, when Evelyn Dodge wrote this article, she said, “The boyish figure sans bust and curves and waistline is the ideal silhouette.”

Butterick patterns, June 1925. Delineator.

Butterick patterns, June 1925. Delineator.

Tip Number One: Wear a Corset or a Corselette.

“A Few Years Ago Women Took Off Corsets . . . and Let Their Figures Go.” — Evelyn Dodge

Dodge attributed the change in women’s figures to the relatively shapeless styles of the preceding decade.

[I know that fans of Titanic and Downton Abbey may not believe that the styles of the late 1910s could be extremely unflattering; that’s because theatrical costume designers do a great deal of period research and then select the clothing that a modern audience will find most attractive.  If a woman is supposed to look young and appealing, or sophisticated and sexy, she has to be dressed in a way that conveys those character points to an audience that has not done months of period research.] Here are some outfits for women, circa 1917:

Three outfits from the Perry, Dame Catalog, 1916.

Three outfits from the Perry, Dame & Co. Catalog, 1917.

If you were an actress — whose next job might depend on being shapely — which would you prefer to wear?

Even outfits designed by Gabrielle Chanel could add pounds in 1916:

1916 designs by Gabrielle Channel [sic] from Doris Langley Moore’s Fashion through Fashion Plates, cited by Quentin Bell.

1916 designs by Gabrielle Channel [sic] from Doris Langley Moore’s Fashion through Fashion Plates, republished by Quentin Bell in On Human Finery.

Under all that fabric, it would be easy to put on a few inches around the hips without even noticing. (Weighing yourself at home was not an option when scales were huge, heavy machines.)

Then came the 1920s, when the ideal figure was flat in front and flat behind.

Warner’s corset, March 1925. Delineator.

Warner’s corset, March 1925. Delineator.

Sweater Girls, World War I

Young Women Wearing Sweaters, California, 1917-1918

Young Women Wearing Fashionable Sweaters, California, 1917-1918. Note how similar their sweaters are to the ones in the catalogs, below.

Evelyn Dodge continued:

“A few years ago during the vogue of the sweater with its concealing lines, women took off corsets, drew a long breath and let their figures go.

Sweaters from the Perry, Dame Catalog, 1917. Dover Books.

Sweaters from the Perry, Dame & Co. Catalog, 1917. Dover Books.

1922 sweaters from Sears catalog. From Everyday Fashions of the Twenties, by Stella Blum. Please do not copy this image.

Sweaters from Sears catalog, 1922. From Everyday Fashions of the Twenties, by Stella Blum. Please do not copy this image.

“Some of the results were good, others were bad. The large waist and the resulting lowering of the bust and straightening of the hip has a youthful air.  [!]  But the diaphragm bulge, the middle-aged spread, the very pronounced increase in weight, have proved ugly and stubborn.

Models Photographed for Ads in Delineator, 1917. These figures would be out of fashion in the nineteen twenties.

Models Photographed for Ads in Delineator, 1917. Their figures would be out of fashion in the nineteen twenties. Imagine the woman on the left in a 1920s dress.

“Many women who have tried going without corsets are now wearing them again – not to make their waists smaller, but to flatten the abdomen and lower back.”

Bon Ton Corset Ad in Delineator. April 1925.

Bon Ton Corset Ad in Delineator. April 1925.

The Modart Corset company ran a series of “X-ray vision” ads showing corsets as worn under clothes.

Young woman wearing a Modart Corset under her dress. October 1924, Delineator.

Young woman wearing a Modart Corset under her dress. October 1924, Delineator.

Corsets and Corselettes

Corsets from Sears catalog, 1925-26. From Everyday Fashions of the 1920s by Stella Blum. Please do not copy this image.

Corsets from Sears catalog, 1925-26. From Everyday Fashions of the Twenties, by Stella Blum. Please do not copy this image.

Many women wore a Brassiere or Bandeau to compress their breasts, plus a corset to control their hips and abdomen. (See the “Detachable Ceinture Step-in,” above.) This could leave an uncomfortable and unsightly ridge of flesh bulging out where the brassiere and corset met, so the Brassiere + Girdle combination — also called a corselette — became very popular:

Treo "Brassiere Girdle combination garment" ad from Delineator, May 1925.

Treo “Brassiere Girdle combination garment” ad from Delineator, May 1925. This could also be called a corselette or corsette.

Dodge explains: “Most young girls and practically all women need some sort of figure control . . . . Not all women need corsets. Women with young slender figures find that the corselet, which is a combination brassiere and hip-confiner, is sufficient.”

Butterick corselette pattern #5691, January 1925.

Butterick corselette pattern #5691, January 1925.

The boneless corselet (spelled many ways) would have acted on a woman’s body the way that sausage casing acts on sausage, redistributing her flesh into a tube shape.  Although it had no metal boning, this corselette’s vertical flat-felled seams pass over the bust points, effectively flattening the breasts. Tension between the shoulder straps and the stocking garters would finish the job. (For more information about corsets and corselets, click here. For more information about 1920s bust flatteners, click here.)

Coming Soon: How to Look Thinner in the 1920s, Part 2: Wear the Right Lingerie

 

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Filed under 1900s to 1920s, 1920s, Corselettes, Corsets, Corsets & Corselettes, Girdles, Old Advertisements & Popular Culture, Underthings, Hosiery, Corsets, etc, vintage photographs