I wish this pattern was in the Archive at CoPA — but it’s not. (Yet.) Both versions mention its French designer inspiration, but (without more research) we can only conjecture whether this was a line for line copy.
“Can’t you see Paris in every line? Each one means something. The crossed bands that start at the hips to form the bolero, these on the skirt to make the peplum and extend into sections of the flared skirt. The narrow tailored belt should be worn at the natural waistline…. Designed for [patterns aged] 14 to 18 and [bust] 32 to 44. [See “Size 16 Years. What Does That Mean?”]
Notice that the lower band hangs free over the flared skirt, echoing the false bolero top. Complex construction!
“One of the most popular French gowns….”
There were many French designers using bias cuts, diagonal bands, etc., by 1930, but there is one name that immediately springs to my mind.
According to Betty Kirke, in Madeleine Vionnet, Vionnet sued Butterick for stealing her designs in 1922, but Butterick continued to show illustrations of her designs and sometimes to mention her influence.
By the way, Vionnet usually cut and seamed her diagonal panels on the straight grain, and rotated them to make the dress, so that the bias ran vertically.
Just an example of Vionnet’s thinking: This gown in the Metropolitan Museum Collection, dated 1932.
I have written about Vionnet several times; especially here and here. Betty Kirke’s excellent article in Threads magazine can be found here; Sandra Erikson reproduced Vionnet’s dress made from four large rectangles of silk and brought it to the lecture I attended. Every woman there loved it.