Tag Archives: fashion history

High Neck or Open Necked Options for Women, 1917

Butterick waists [i.e., blouses] from February 1917, Delineator, p. 51

After 1912, fashion permitted respectable women to expose their necks in the daytime, but not every woman felt comfortable with the change.

Butterick waists [blouses) from August 1917 occasionally included a high-necked one. Delineator, p. 47.

A vintage lingerie blouse (or “waist”), probably late 1890’s. That high collar wouldn’t give much relief from the heat in spite of the blouse’s sheer fabric.

These waist (blouse) patterns from Ladies’ Home Journal, July 1917, all have open necks. In July, a blouse like this must have been wonderfully cool compared to the fashions of the 1890’s.

By 1917, when most blouses had open collars, V-necks, or other necklines that bared the throat and part of the sternum, Butterick patterns often still included an optional high-necked version. That’s my excuse for showing these seven outfits from 1917 in all their colorful glory.

These look like dresses, but they are waist and skirt combinations. Butterick patterns from February 1917. Delineator.

The two at left use chiffon and other sheer fabrics; 8928 has a low draped neckline filled with skin-toned lace.

Butterick waist patterns 8927 and 8919. From 1917. In January, Butterick evening waist 8901 was very similar to 8927, but was shown without a blouse under it.

Butterick waist 8919 with skirt 8928. Delineator, Feb. 1917. The alternate view shows a high-necked variation without the cowl neckline of the color illustration.

Although I’m focusing on blouses, skirt 8928 was also illustrated (twice) with an evening bodice:

Skirt 8928 with “evening bodice” 8956. Delineator, editorial illustration, Feb. 1917.

Butterick evening coat 8727 shown with a “gown” that is really a blouse (No. 8956) and separate skirt (No. 8928 again.) Delineator, Feb. 1917. [That waist looks shockingly bare to me!]

Butterick waist patterns 8927, 8919, and 8923. February 1917. The designs at left and right have contrast collars and a wrapped “surplice” bodice.

Butterick waist 8927 with skirt 8949. February 1917, Delineator. This one does not offer a high necked version. It is a “jumper model” in the American sense — a sleeveless garment worn over a blouse.

Butterick waist 8923 with skirt 8936. Delineator, February 1917. This blouse waist has a high-necked variation, shown with a dark collar.

A “French lining” fit the body closely and supported draped effects. In this period, as in the 19th century, the closure of the lining did not always line up with the closures on the outer garment, which could be very complex.

These are dresses, not waist and skirt combinations. Delineator, Feb. 1917 page 52. No. 8942 looks like a coat, but it’s a dress.

A closer look at the necklines and the hats. 1917.

Butterick dress pattern 8929, from 1917. It has a tabard (panel) hanging front and back, and unusual “organ-pipe” pleats at the sides of the skirt. “High or open neck could be used.”

Butterick dress pattern 8942, from 1917. The vest front is “equally well adapted to a high or the open throat.” There are at least three sleeve and cuff variations.

Butterick dress 8933, from February 1917, has a surplice (wrapped) bodice. The illustrations show several sleeve variations and a high buttoned neck, worn without the cape collar. [That blue taffeta is beautifully rendered by the illustrator.]

Butterick dress 8947, with skirt and bodice variations, including a high-necked version. 1917. The cross-over belt is very characteristic of 1917. You can see how it ties in the back. “The lower part of the redingote has two different outlines, and it is joined to the long body.”

The hats of 1917 were pretty extreme. [And some were pretty, while some were extreme.]

 

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Filed under 1900s to 1920s, Hairstyles, Shirts and Blouses, Vintage Garments: The Real Thing, World War I

Advertising Mary Brooks Picken’s Woman’s Institute: Out Stepped Ann!

“Out Stepped Ann!” This full page ad in Delineator magazine looks like a story. It’s really an advertisement for the Woman’s Institute correspondence course in dressmaking. Delineator, May 1924, page 5.

While randomly reading through vintage magazines, I have collected quite a photo gallery of ads for Mary Brooks Picken’s Woman’s Institute, which was a very successful correspondence course in dressmaking from 1916 through the 1930’s. (It has no relationship to the Women’s Institute, an organization for women that’s been doing important work for a long time.)

As sometimes happens with great stuff you find on the internet, I can no longer locate the first helpful site I found about the Woman’s Institute and its founder, Mary Brooks Picken. But I owe it thanks for mentioning the brilliant ad campaign which contributed to the Institute’s success — which is why I photographed this full page ad when I saw it.

(The instruction books and booklets written by Picken were excellent; I used one many years ago, in graduate school. I learned a lot about making twenties’ dresses from her! In other words, the Woman’s Institute delivered what it promised. A page from her twenties’ book about designing by draping fashions could be a “light bulb” moment for you, too. ) But that “lost” site which mentioned the genius of Picken’s second husband, G. Lynn Sumner, “president of the advertising firm of G. Lynn Sumner Co. of New York” which was probably responsible for the Woman’s Institute ads, was the reason I saved this wonderful example of his story-telling technique. It was a full page ad — an expensive venture — that captures the psychological appeal of the Woman’s Institute courses.

Here is Ann at the climax of the story, stepping out from behind a curtain in the new dress she made herself. Woman’s Institute ad, Delineator, May 1924, p. 5.

Ann’s tale is easy to relate to; she’s a popular girl, but she can’t afford to dress as well as her friends. “If I could only look in the mirror just once and be satisfied with what I see!” [Is there a  woman who can’t relate to that?]

Ann is so embarrassed by her shoddy old “good dress” that she deliberately spills a bottle of perfume on it rather than go to the party.

Determined to come up with something to wear to her best friend’s upcoming birthday party,  Ann ransacks her closet for old dresses that might be remade.

She consults the local dressmaker about remaking a dress, but she’s told that every dressmaker in town is already too busy with other orders. Ann goes window shopping, but can’t afford any of the dresses she sees, so she doesn’t even try them on.

At home, Ann leafs through a fashion magazine.

Ann tells her friends that she’s suffering from “nerves” and under doctors’ orders to stay at home and rest for a month. Her other friends don’t visit her, but Elizabeth tells them that Ann seems happy, especially since she is now getting lots of letters and packages in the mail. And Ann promises not to miss Elizabeth’s birthday celebration.

Ann arrives, wearing a coat and with a scarf covering her hair. She dodges into the cloak room, hidden by the curtains. Then …

Here is Ann, stepping out from behind a curtain in the new dress she made herself. Woman’s Institute ad, Delineator, May 1924, p.5.

“Making Beautiful Clothes” booklet, from an ad for Woman’s Institute, Delineator, Feb. 1924, p. 79.

Doesn’t that make you want to send in your coupon?

Coupon for information and free booklet from Woman’s Institute. Feb., 1924.

Good News: Some of Mary Brooks Picken’s books on 1920’s dressmaking are available as paperback reprints.

The famous “one hour dress” book (1924 edition) by Mary Picken is available as a reprint. Since the styles of 1924 are still long, “tubular twenties,” you might prefer the 1925 edition, which is also available.

You can also download and print your own copy of her 1925 book The Mary Brooks Picken Method of Modern Dressmaking thanks to ///Columbia/// CORRECTION: Cornell University: click here. This is an illustrated sewing basics book which gives an indication of how thorough Picken was.  It is not a “one-hour dress” book. Picken also wrote the Singer Sewing Book in the 1950’s.

The Woman’s Institute had already been around for several years in the Twenties; its ads always emphasized both personal and professional dress making and millinery opportunities for women.

Many of the points made in “Out Stepped Ann!” were repeated in smaller monthly advertisements. Even early ads emphasized financial savings, a chance to learn a skill that could produce income, and a sense of accomplishment. The women in these ads were proud that they had made their own clothes.

“Yes, I Made It All Myself!” students of the Woman’s Institute proudly proclaimed in the ads. Delineator, July 1917.

These ads battled the stigma of wearing clothes that looked “home-made;” and, if a woman followed the instructions carefully, her clothes would in fact look well-made.

“She’s the Best Dressed Woman in Town” because she learned to make clothes and hats by taking a home study course from Woman’s Institute. Other women envy her. Ad from Ladies’ Home Journal, September 1917.

“I’m Making My Own Dresses This Summer,” and clothes for the children, too, brags this satisfied customer. Detail, Woman’s Institute ad from Ladies’ Home Journal, July 1917.

“I Make My Own Hats” says another proud Woman’s Institute student in this ad from Ladies’ Home Journal, November 1917. “I have four becoming, stylish hats where I used to have only one…. You can earn money making hats for your friends in spare time or open a millinery shop of your own. Pictures make everything clear….”

“It’s the prettiest dress I ever had…. And Just Think, Mother, How Much We Saved.” Ad for Woman’s Institute, Delineator, March 1927. [That hat really was chic in 1917.] In addition to saving half the cost of purchased clothing, “You can have clothes that are more becoming and better fitting, because they will be made of the materials and in the styles that you select, and to your own measurements.”

Making your own clothing and turning last year’s dresses into new styles was patriotic, too, during World War I. Click here.

“Now I Save Half on All My Clothes.” From an Ad for Woman’s Institute, Ladies’ Home Journal, December 1917. “You know the patriotic slogan among women this year is ‘Make Your Own Clothes!’

Making “New Clothes From Old” was a patriotic duty during World War I. “This year women are urged to economize, but economy need not mean fewer clothes.” Woman’s Institute ad, Ladies’ Home Journal, Nov. 1917.

“This Year I Had Six Dresses Instead of Two.” Woman’s Institute ad from Delineator, February 1917. “Besides, I’ve made three skirts and half a dozen blouses and practically everything that the children are wearing. And a year ago I couldn’t make a buttonhole.

Aside from the occasional full page ad, Woman’s Institute inserted small advertisements into most women’s magazines every month — sometimes two ads in one issue. What is remarkable to me is that there was a new, different ad every month.

Collecting Woman’s Institute advertisements from the 1920’s and 1930’s will give you a mini-history of the fashions for each year.  I’m saving those for another post — but here’s a preview: (one from 1927, one from 1933)

Detail, Woman’s Institute ad, Delineator, January 1927.

Detail, Woman’s Institute ad, Delineator, March 1933.

Fashions changed a lot in those six years.

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Filed under 1900s to 1920s, 1920s, 1920s-1930s, A Costumers' Bookshelf, Old Advertisements & Popular Culture, Resources for Costumers, Woman's Institute, World War I

Fashions for Children, October 1927

Butterick patterns for girls, October 1927. Coat 1609, flanked by dress 1613 (left) and dress 1702 (right.) Butterick also sold hat patterns, like Tam-O-Shanter 5416.

There are some good looking coats among these illustrations of Butterick patterns for 1927. In fact, you probably wouldn’t be surprised to see the children’s double-breasted coats today. This plaid one doesn’t scream, “I’m ninety years  old!”

But the many-buttoned winter leggings worn by boys and girls are no longer seen.

Clothes for a small boy, left, a child’s coat for boys or girls, and a dress for a small girl. Delineator, October 1927. They all wear high leggings (not tights, but separate legs, like long gaiters) that button up the sides — a nightmare for getting a child dressed in winter.

Shorts for little boys buttoned to their shirts in front and in back, so a trip to the restroom must have required assistance. Small boys had to suffer freezing temperatures in shorts; apparently this practice was so universal that it was unquestioned. (Zippers were introduced into children’s clothing in the late 1920’s.)

Alternate views for boy’s “suit” 1680. coat 1670, and girl’s dress 1615. Butterick patterns for 1927. The legging pattern was included with the coat, which was recommended for “brother and sister” dress-alikes.

Similar leggings (really, extended gaiters) for toddlers were still pictured in McCall catalogs in 1950 — but by then, they closed with zippers.

1927 dresses and a coat for girls up to age ten: Butterick dress 1664, coat 1666, and dress 1662.

Alternate views of Butterick patterns for girls, 1927.

Patterns for older girls and pre-teens look very much like clothes for grown women. In fact, these look the way I mentally picture the “twenties;” girls’ clothing was always shorter than clothes for women, but rising hems for women in the late twenties seemed to follow the lengths worn by girls. (These also “look right”because the proportions on these drawings are closer to a normal human body than the super-slender fashion figures used for women’s styles.) For similar women’s styles from 1927, click here.

Butterick patterns for girls aged 8 to 14 or 15 years. From left, dress 1599, coat 1601, and two-piece dress 1676. From 1927. Surprisingly, the two piece (1676) was “smart for evening” if made “without sleeves and with a low neck.”

Alternate views of Butterick patterns for girls 8 to 15. The skirt of number 1676 is “flared-in- front”but straight in back, like many twenties’ dresses; the skirt hung from a bodice top, so it did not need a waistband or any shaping at the waist.

For those who like to read the pattern descriptions, here are the others, with their illustrations:

Butterick patterns for girls, dress 1613, coat 1702, dress 1609. 1927. No. 1702 is “quaint” like a figure from a children’s book by Boutet de Monvel.

Little girls wore matching “French panties” or bloomers under their short dresses. No. 1702 is “gathered at the normal waist,” or so it says.

Butterick boy’s suit 1680, coat 1670 “for both brother and sister,” and dress 1615. From 1927. Pattern 1670 included coat, hat and leggings. “The leggings are elastic at the back.”

1927 party dresses and a coat for girls up to age 10 years: Butterick dress 1664, coat 1662, and dress 1666.

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Filed under 1920s, Children's Vintage styles, Hats, Vintage patterns

Hosiery Ads with a Bit of Wit

My favorite series of ads for stockings came from the McCullum Company in 1927.

A wonderfully stylized illustration of short skirts and stockings under the bridge table. Ad for McCallum silk stockings, Delineator, March 1927. (Shades of John Held, Jr….)

Illustration for McCullum silk stockings for everyday wear, Delineator, April 1927.

Text of McCullum Hosiery ad, April 1927.

Extra-long silk stockings to wear with a bathing suit, August 1927. Ad for McCullum’s hosiery, Delineator magazine. Note her bathing shoes and the seams up the back of the stockings.

About stockings with bathing suits:

Text of McCullum ad for hosiery to wear while swimming. August 1927.

“In the water, or just out, silk hose have the smooth gloss of a wet seal.” Stockings were usually worn with bathing suits in the nineteen teens and early twenties.

This 1917 ad for Luxite soap shows long stockings worn with a bathing suit.

A bathing suit illustration from 1924 shows both swimmers wearing rolled stockings. Delineator, July 1917, p. 34.

However, in this photo from the late twenties, you can clearly see the marks left by my mother’s rolled stockings.

Late 1920’s swim suit; you can see the marks left on her legs by rolled stockings, which she had removed.

She took them off when she put on her bathing suit. That McCullum “opera length” ad from 1927 seems to be trying to revive a disappearing custom.

Back to more wonderful McCallum illustrations:

Playing footsie? A couple dressed for a big date plays footsie in this McCallum hosiery ad. Notice how tense the man is, balancing a corsage box on his knees, and how relaxed the woman is as she stretches out her long legs to brush his ankle. December 1927.

Each ad had a border to match — waves for swimming, music for dancing….

“Sheer audacit” describes the short-skirted woman blowing smoke rings in this ad for McCallum hosiery, Dec. 1927. “The beauty of silken sheerness on slender, shapely legs . . is it this that gives the owner such assurance, such audacity . . is it this that fills even the timid man with admiration . .”

I do not know the illustrator — only that these eye-catching drawings are signed H on their left side and M on the right side.

The Onyx Hosiery company also used humor to sell stockings, but the illustrations in this series which referred to classical statues lacked the Art Deco dash of the McCallum ads.

The stature of the goddess Diana is implied to have thick ankles in this ad for Onyx Hosiery.  Onyx ad, November 1926, Delineator.

Onyx Pointex stockings had a pointed heel which, their ads claimed, made ankles look slender.

Venus had thick ankles compared to women who wore Onyx stockings. Onyx ad, March 1927. That dark triangle at the heel was advertised as slenderizing.

Onyx stockings, with their pointed heel, were supposed to make wearers’ ankles look thinner. (The darker heel area showed above the shoe.) Onyx ad, December 1926.

Other stocking ads illustrated the product itself — with elegance, but not many laughs.

The heels of Gordon stockings came in many shapes; left, a V-shape; right, a rectangle. Gordon Hosiery ad, Dec. 1928. Delineator.

As skirts got shorter, stockings got sheerer and more elaborate.

Ad for Gordon Hosiery to wear to the racetrack, September 1928. Delineator. The stockings at left have clocks (a vertical design,) which remained a feature of dressy men’s hose for decades.

Gordon Hosiery ad, May, 1928. Delineator. A different clock pattern.

Gordon hosiery with V-shaped or rectangular heels. Gordon ad, Delineator, October 1928. In the background, a stylized airplane takes off.

Anther stocking company just used celebrity endorsements. The extraordinary dress in this ad is worn by Mary Astor, best known nowadays for her role in The Maltese Falcon. In the 1920’s, she made five or six films a year.

Actress Mary Astor in an ad for Allen-A hosiery. April 1928, Delineator.

For me, none of those ads has the 1920’s zest of this one:

A wonderfully stylized illustration of short skirts and stockings under the bridge table. Ad for McCallum silk stockings, Delineator, March 1927.

“A length of flawless silk stockings to above the knee . . meets the brevity in skirts.” McCallum hosiery ad, March 1927.

“Full-fashioned” means the stockings were shaped like a leg, instead of like a tube. Full-fashioned stockings cost more, but before stretch knit fabrics, stockings that were not full-fashioned tended to wrinkle at the ankles. Like McCallum stockings, the other silk stockings in these ads cost two dollars a pair, more or less, a luxury item for the twenties’  working woman.

Prices from an ad for Onyx Pointex stockings, Dec. 1926.

Cotton lisle was longer wearing than silk, so it was often used at toes and heels and the band where the garter attached to the stocking. Less practical and more fragile, all-silk stockings cost more.

Prices from ad for Allen-A hosiery, April 1928.

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Filed under 1920s, evening and afternoon clothes, Hosiery, Hosiery, Hosiery & Stockings, Old Advertisements & Popular Culture, Underthings, Hosiery, Corsets, etc

Stylish Coats for Women, December 1917

A fur-collared coat from Butterick’s Delineator magazine, December 1917. Butterick coat pattern 9535 had a convertible collar, a criss-cross belt, and gathered pockets — all frequently seen in patterns from 1917.

Sketches of coats from three top Paris designers: Beer, Poiret, and Jenny. Delineator, December 1917.

Paris designs were converted into Butterick patterns in spite of the war in France. This was the year of convertible collars that could come right up to the chin when buttoned, or spread over the shoulders like a shawl when unbuttoned. The hats are pretty spectacular, [or hilarious] too.

Coats for young or small women show how the convertible collar looked when fastened, as on the three at left, or unfastened, as on the far right. Butterick 9556, 9535, 9533, and 9531, December 1917.

Alternate views of Butterick coat 9556 show it with the collar undone. Delineator, page 76, Dec. 1917.

Coat 9556 “is made with the large collar shown on all the newest winter coats and it buttons up snugly at the front for cold weather…. It is as good-looking and becoming for young girls as for women.” This pattern was available for bust measure 32″ through 46.”

Coat 9556 was also illustrated in color on a different page:

Butterick coat pattern 9556, page 68, Delineator, Dec. 1917.

Left, coat 9556 again; right, coat 9535. That X-shaped belt also appeared on dresses in the nineteen teens.

Description of coat 9535 from Delineator, page 76, Dec. 1917. On page 69 another description said, “There is the large cape collar that plays such a strong part on all the coats of the season.”

Butterick coat 9535, shown with its collar open. Notice its belt — very “1917” — and the peculiar gathered pockets. This is the same coat illustrated in color at the top of this post.

A fur-collared version of Butterick 9535,  December 1917.

Left, coat 9533; right, coat 9531. December 1917.

Butterick 9533 has one enormous, decorative buckle at the back. One version is 7/8 length, and has huge optional pockets.

Coat 9533 was sized for busts 32 to 44 inches. The straight silhouette “is youthful looking for the older woman….”

Since coat 9531 was illustrated with the collar open on page 76, its alternate view shows the collar closed. Cuffs could be gathered or turn-back. Clothes from this period often have a higher waist in back than in front.

Coat 9531, like the others, has a large cape collar and “deep armholes for comfort and wearableness.”

Coat 9567 was illustrated as worn by a young woman or teen (but, no, that’s not actually her graduation cap.) This was not an era for women who worried, “Does this coat make me look fat?” [See the coat by Paul Poiret pictured earlier.] I find the clothes of this period extremely unattractive.

Butterick coat 9567, with its “new type of convertible collar” is “an excellent coat for a young girl;” the pattern was available from bust 32″ to 44.”

butterick Coat 9567 could have decorative buttons on the front; those on the back are for fastening the collar. Imagine that wide rectangle of collar pulled up and buttoned at the front of the throat. Like this:

Coat 9567 was illustrated again on page 70 of the same issue:

Here, coat 9567 is shown with pairs of buttons all the way down the side fronts. From left, Butterick coat 9567; coat 9490 with skirt 9545; and coat 9501. Delineator, Dec. 1917, page 70.

Coat 9501, seen at the far right above, was shown in color in November:

Butterick coats 9485 and 9501, November 1917, Delineator.

Editorial illustration, Delineator, November 1917. This looks like coat pattern 9485, although these editorial sketches introducing the fashion pages never gave the pattern numbers.

All of these coat patterns appeared late in 1917, but similar styles could still be purchased in 1921.

These coats appeared in the Sears catalog in 1921. The plain one, at right, has another kind of cross-over belt. From Everyday Fashions of the Twenties by Stella Blum.

A strange belt also appears on this vintage coat:

A light weight vintage coat from the WW I era. The checked fabric looks like linen. One side of the belt twists around to button to the other side. (One button is on the back of the belt, so it has to twist, unlike this one.)

The cape collar is trimmed with non-functional buttons, which match the blue band on the collar.

A blurry photo of the vintage coat circa 1917 to 1921. It looks home-made.

If I wanted to select an era when fashion was really inexplicable, it would be this one.

https://witness2fashion.files.wordpress.com/2015/03/dot-age-17-about-1918828.jpg?w=346&h=500

My aunt Dot, age 18, proudly posing in her fashionable coat. Circa 1917-18. A glimpse of her thin ankles reminds me that she was petite — not chubby — underneath that colossal wool cocoon.

This was also the era of the tonneau, or barrel, skirt. What were they thinking?

 

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Filed under 1900s to 1920s, 1920s, Coats, Hats, Vintage Accessories, Vintage Couture Designs, Vintage Garments: The Real Thing, Vintage patterns, vintage photographs, Vintage Styles in Larger Sizes, World War I

More Princess Line Dresses (and Styling Tricks) from the Nineteen Twenties

These princess line dresses from the 1920’s do not have the characteristic horizontal hip band of most twenties’ fashions.

In my post about Butterick styles for October 1927, I wrote,

Not all 1920’s dresses had a strong horizontal line across the hip. Princess-seamed dress patterns were available for several years and didn’t change much — except for their length.

Left, Butterick 1683, a princess line dress; Delineator, October 1927, page 31. These 1927 hemlines are just below the knee.

The rear view of the princess dress (1683) shows the characteristic princess seams, which can be shaped to follow the lines of  the body without any waist seam. The front and back are each divided into three panels. A princess line dress usually skims the body — at least, they did before the use of stretch fabrics and elasticated knits.

More Princess Line Dresses from the Nineteen Twenties

Here are some other princess line patterns from 1925 to 1928. Some combine fur and velvet for evening, but one is a day dress.

Left, Butterick princess line dress pattern 6424, Delineator, December 1925. For a young woman or teen.

Left, Butterick princess line dress pattern 6506, from December 1925.

Also from December 1925, Butterick princess line dress pattern 6428. Dresses for adult women were slightly longer than those for teens.

In 1928, the princess line evening gown has a hem that dips low in the back. So does the neckline.

Butterick princess line pattern 2257, from October 1928. Delineator.

Putting Twenties Styles on Modern Bodies

A chenille or ribbon shoulder decoration draws our eye up toward the face on these formal dresses from December 1927. Butterick patterns 1734 and 1753.

I think I’ve mentioned this before: a director once told me that he wanted “absolutely authentic 1920’s costumes” — but added, “Just don’t give me any of those dresses with the waists down around the hips!” In times (like the 1980’s) when contemporary fashion insists on narrow hips and wide shoulders, making an actress feel confident in a dress with natural shoulders and a horizontal line across her hips can be difficult — especially if she isn’t slim-hipped or is self-conscious about her figure.

Trim or fur leads your eye to focus on the top of the body in these styles from December 1928. Butterick patterns 1761 and 1757.

But theatrical designers also have to consider audience expectations — I would not do a twenties’ show in which every woman wore princess line dresses! However, the princess line dress is among the authentic possibilities for one or two characters, or for a re-creator who doesn’t have a “boyish” figure.

Illustration by Helen Dryden, Delineator cover, September 1928. A band of deep pink on the scarf lends a touch of bright color to her head and face area.

The most flattering twenties’ styles balance the hip interest with interest near the face. Butterick patterns 1745 and 1735, from December 1927.

For plays and operas, we try to draw attention to the face and upper body. (It sounds crazy, but audiences can’t hear the lines if they can’t see the faces. Humans lip-read much more than they realize.) Accessories that create a vertical line, such as lighter or brighter colors near the face, those looooong 1920’s necklaces, and those often-seen 1920’s shoulder decorations are flattering and authentic twenties’ tricks.

A scarf or bows with long ties add interest to the top of the body and, in the case of the bows, create a vertical line to balance the hip interest. June 1928, Delineator.

These three couture sketches are undoubtedly twenties’ styles, but they use a variety of styling tricks to move our attention up the body, toward the face, and to deflect interest from the hips.

French designer fashions from May 1928. 1) Renee, 2) Jane Regny, 3) Jenny. Sketches for Delineator. The coat by Jenny suggests princess lines.

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Filed under 1920s, evening and afternoon clothes, Musings, Tricks of the Costumer's Trade, Vintage Accessories, Vintage Couture Designs, Vintage patterns

Animal Prints and Sheer Yokes, 1927

This classic twenties’ cardigan outfit caught my eye because of its animal print (or fur) accessories. Butterick pattern 1345, from March 1927.

To the author of the AllWays in Fashion blog, who just wrote “it’s clear many of our old friends are returning for another stylish go-round:” this one’s for you! Synchronicity at work.

I’m not in favor of wearing real fur, but I have to admit that the belt and matching clutch purse really jazz up this basic cardigan and pleated skirt costume. I don’t know if the matching shoes came from the illustrator’s imagination or were really in the stock at Butterick’s art department. (I sometimes see the same hat illustrated with several dresses in an issue of Delineator.)

I found the other outfits illustrated with Butterick 1345 less iconic, although 1349 is also classic. Both have skirts with pleats only on the front.

Alternate view and description of Butterick 1349, from 1927.  Surprisingly, it’s described as a “jumper frock,” not a suit or ensemble, although the pattern in the Commercial Pattern Archive says it is a “two-piece frock.”

No. 1349 is third from left below.

Four Butterick patterns from Delineator, March 1927, page 23. From left, 1345, 1297, “jumper frock” 1349, and 1347, called a “bosom front” dress.

In the same issue I found two dresses with an unusual yoke; sheer fabrics were suggested for daytime, which probably means they were afternoon dresses.

Butterick patterns for a box coat (No. 1304), worn over a dress with sheer yoke and box pleated skirt (1337;) third is dress pattern 1335, followed by another sheer-yoked dress, Butterick 1331. Delineator, March 1927, page 22.

Box jacket 1304 over dress 1337. The very simple jacket is accented with dark applied trim. At right, the dress (1337) is illustrated in crepe silk, with a yoke of sheer Georgette, a crepe-like sheer fabric.

Alternate views and text describing Butterick 1304 and 1337. To create a suit-like ensemble,  dress 1337 is made using matching fabrics for jacket and dress. From 1927. It was common for 1920’s dresses to have all the fullness in front, with a straight back.

Butterick 1337, bolero dress 1335, and 1331. Delineator, March 1927, p. 22. The dresses right and left are formal day dresses, and the one at right could be made in a sleeveless evening version.

Alternate views and descriptions of Butterick 1335 with “simulated bolero” (in the center)  and yoked dress 1331. (For a “bolero” topped evening gown by Chanel, click here.)

Butterick 1337 and 1331, from 1927. The treatment of the armholes is different, but the yokes are otherwise similar: curved, and low on the sides. They would have been worn over a slip or teddy/combination, so the sheer bodice would have something opaque covering the sides of the breasts.

All the models in these 1927 illustrations have severely shingled hair. Here’s some shingle haircut advice from 1925.

 

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Filed under 1920s, bags, evening and afternoon clothes, handbags, Hats, Purses, Shoes, Sportswear, Uncategorized, Vintage Accessories, Vintage patterns