Introducing the Winter Mode, by Madeleine Vionnet, 1927

Introducing the Winter Mode, an Article by Madeleine Vionnet

This brief article in The Delineator, published in November, 1927, page 27, is ostensibly written by the couturier Madeleine Vionnet. It may actually be the report of a translated interview; The Delineator also published an article “by Captain Molyneux” in the same series, but I have not yet photographed it. The curvature of the page of the bound volume makes the pattern descriptions at the sides hard to read, so I will transcribe them; they are not written by Vionnet, but are editorial comments on the winter modes and are illustrated by two Butterick patterns, not necessarily Vionnet designs. (The Delineator was published by the Butterick Publishing Company.)  You can read the article — the center column — exactly as printed:

Vionnet Headline and Introduction“Madeleine Vionnet, the famous Paris dressmaker was the first designer to make the unlined frock, discarding the hooks and bones of the tight lining. The famous Vionnet V’s of her modernistic cut made intricate line immensely more important than obvious trimming. Vionnet’s versions of flares and fagoting and bias cuts imbue the basic principles of the new mode with a supreme distinction, an ageless quality, the results of Mme. Vionnet’s own philosophy of dress.”

Vionnet’s Article from 1927

Elegant Evening Dress, Winter 1927

Butterick dress pattern # 1749 and Evening Coat pattern # 1653, November 1927, Delineator, page 27

Under the dress on the left, the text says,

” 1749 – Concerning the evening mode there is no supposition for all its ways are well established. It is a fashion of supreme elegance, of great formality and dignity. Is very feminine in appearance, brilliantly conceived and brilliantly executed. In general the smart evening frock is both long and short due to an erratic hemline which is high in some places and low in others, jagged with points of drapery or elliptical as in the bouffant dresses where the longer line rounds down in back. The decolletage of the season is the low cut oval. This is new and flattering but V and square lines are continued and the latter is particularly distinguished when held by jewelled shoulder straps. Jewels are, in fact, very much a part of all evening dress. White frocks and black frocks depend on them for relief, and not only are there necklaces, bracelets and belt and shoulder touches, but dresses area embroidered with jewels, notably in necklace lines. There is much drapery in the mode, mostly with a left-side tendency, and skirts flare, some of them in most original ways.

“The front flare of the frock above (Design 1749) rises diagonally in a scalloped outline and a wing of drapery breaks the hem. For size 36, 3 1/8 yards 35-inch all-over lace. Designed for sizes 32 to 35 (15 to 18 years) and 36 to 44.”

Evening Wraps: White, Black, and Pastel

Under the coat on the right, the text says,”1653 – As to the evening wrap, it is very smart to match it to the frock, but if the wrap matches one of the frocks of the wardrobe and harmonizes with the others, that is quite in good style and very much less extravagant as the means one wrap instead of a series of them. White is, and has been for two seasons, the first color for evening, its continued vogue explained by the fact that a white frock and sun-bronzed skin is an intriguing combination.  All black, relieved by rhinestones on the frock and by ermine on the wrap, follows white in the scale of evening colors, after which come pastel shades, used so much by Vionnet.  Gray and yellow are sometimes seen and are interesting because they are new.  The evening frock this season is made of transparent velvet, metallic fabrics, Georgette, chiffon, lace, flowered or gauze lamé or tulle – tulle with a gold dot is new. The evening wrap may be a coat or cape of fur, velvet, metallic fabric or brocade. The little evening jackets that are so useful in chilly rooms, or as a means of turning an evening gown into one for afternoon, are of the fabric of the frock.

“The coat illustrated (Design 1653) has a flare across the front with the ripples thrown to the left. For size 36, 4 yards of 39-inch velvet and 2/3 yard of 9-inch fur for binding are required. Designed for sizes 32 to 35 (15 to 18 years) and 36 to 44 [bust measurement.]”

TAGS

Was Vionnet the First Couturier to Use a Zipper? Spring 1929

Vionnet for Spring 1929, Sketched for Delineator magazine, March 1929, page 27

Delineator Magazine Reports on Paris Fashions, March 1929

The Butterick Publishing Company, which published Butterick patterns and also the Delineator magazine, maintained an office in Paris for the purpose of reporting on couture and other Paris fashions.

“…Butterick keeps a staff of experts in Paris all the time. Wherever new modes are launched there is a Butterick expert noting each successful model.  Quickly that expert cables the news. Sketches, details follow by the fastest steamers. Immediately patterns are made for each of the successful new modes.” — Butterick Advertisement in Delineator, August 1924, p. 67.

Paris Fashions for Spring, 1929, Article in Delineator, March 1929, page 27.

The top left sketches show designs by Cheruit and Vionnet. Designs by London Trades and Mary Nowitsky at right. The evening gown is by Louiseboulanger.

Dress and jacket by Cheruit; Blouse, skirt, and coat ensemble by Vionnet, Spring 1929

The sketch and caption for the peach satin blouse by Vionnet show that it closes with a slide fastener – i.e., a zipper.

Delineator, March 1929, page 27.

Butterick Pattern #2526: Culotte Blouse with Zipper; Wrap Skirt

Left, design by Vionnet; Right, Butterick pattern #2526

When I turned to page 28 of the same issue, I found Butterick patterns which are nearly line-for-line copies of the Vionnet blouse, wrap skirt, and coat ensemble.

Butterick culotte blouse & skirt pattern #2526 on left, Coat pattern #2495 on right.

Back views, Butterick patterns #2526 and #2495

The name of Madeleine Vionnet does not appear on this page, but the idea for the culotte blouse is typical of her ingenuity. The problem of wearing a 1920s wrap skirt which rides far below the natural waistline (the skirt over a satin blouse would have a tendency to migrate around the body as you walk), and the problem of keeping the blouse tucked in when you sit and stand, or raise your arms, are both neatly solved by the “culotte blouse,” known much later in the 20^th century as a bodysuit, as popularized by Donna Karan. The 1929 blouse is made-in-one with panties, like a camisole & panties underwear “combination” or “teddies”, also called “cami-knickers;” the crotch keeps the blouse from riding up and twisting around.

Here are the pattern descriptions:

Pattern descriptions for Butterick #2526 and # 2495.

Photo Left of pattern #2526 “The Elegant Version of the Culotte”: This is Paris’ newest idea on the ensemble frock. The blouse is not only a blouse but a step-in, which gives it these advantages; it stays in place and it eliminates a piece of lingerie. It closes with a slide-fastener under the tied neck-line. The skirt is a graceful one-piece tie-around, holding the hips snugly. Designed for sizes 32 to 42. [bust measure]

Photo right of pattern #2495 “The Ensemble with Casual Coat”: The coat-and-frock ensemble has reached new peaks in the mode. There is no smarter example of it than this with a seven-eighths length coat, which hangs casually open, has moderately wide sleeves and a shawl collar, and the frock described above….Designed for 32 to 35 (15 to 18 years); 36 to 44. [bust measure]

The Vionnet culotte blouse was described on page 27 as ending “in brief trousers with the new sliding fasteners at each side.” The Butterick culotte blouse pattern described on page 28 only mentions a slide fastener down the front. It’s difficult to say from the tiny back illustration (unfortunately on the curve of a bound volume) whether we are seeing a side seam or a side zipper. [Using the Ladies’ Room while wearing a bodysuit was always awkward, but I’m not sure side zippers would help much.]

I have not searched the library for other reviews of Vionnet’s collection for Spring of 1929, but it certainly deserves more investigation.

If you search for “Schiaparelli zipper” you may find sites claiming that she was the first couturier to use zippers (then called ‘slide fasteners.’)  She was among the first; and she pioneered (and even encouraged the development of) colored plastic zippers in women’s clothing.  But, unless Butterick invented the designs sketched in its March 1929 issue of Delineator, Vionnet deserves the credit for the first zipper used in couture.

#2526 is not the first Butterick dress pattern to use zippers; # 2365 appeared in December of 1928, and no designer was mentioned.

When Is a Designer Pattern Not a Designer Pattern?

A recent blog on Pattern Vault showed Schiaparelli patterns from Authentic Paris Pattern Company that did not use phrases like “after Schiaparelli” or “Schiaparelli-influenced,” which are usually indicators that the pattern has been adapted from an original design, with varying degrees of participation or permission from the designer – sometimes, none.  Betty Kirke’s extraordinary book, Madeleine Vionnet, tells us that:

“In 1922, [Vionnet] brought action against Butterick Publishing Company, claiming infringement of pattern rights. Police raided the Paris branch of Butterick and found a staff of designers converting her dresses into patterns.” (Kirke, p. 221)

[Five years later, Vionnet and Butterick were apparently on very good terms, since she even wrote an article for Butterick’s magazine, The Delineator, in 1927.]  Nevertheless, over the years, Vionnet filed many other lawsuits in an attempt to prevent manufacturers from selling unauthorized copies of her designs.

Is This Dress a Lanvin Designer Pattern?

This dress pattern, Butterick # 5870, was featured in Delineator magazine in August, 1934.

Photographed by Arthur O’Neill, Delineator, August 1934

This caption does not use any of the usual ‘hedge words’ like ‘after Lanvin,’ ‘inspired by…,’ ‘in the manner of…’; it says “Jeanne Lanvin’s button-down-the-back dress, sensation of the Paris openings.” Does that mean Lanvin authorized this pattern?

Is This Coat a Schiaparelli Designer Pattern?

Earlier that year, in March, 1934, Butterick coat pattern # 5576 appeared under the headline “The Schiaparelli Wind Blown Coat.”

The caption, however, says “This is Schiaparelli’s newest silhouette. Even in the calmest weather the forward streaming revers indicate high March winds blowing from the rear.” Questions arise: This may be a Schiaparelli silhouette, but is this a pattern authorized by Schiaparelli? Is it an exact copy? Is it based on a sketch of a coat by Schiaparelli, or on a toile supplied by her? I can’t tell. [A toile is a prototype garment made of inexpensive cloth, from which a pattern for the real garment  is taken.]

Is This Dress a Schiaparelli Designer Pattern?

Butterick pattern # 5874, Delineator, Sept. 1934

This dress pattern, Butterick # 5874, is presented in the same way as the Lanvin dress above, and in the very next issue of the magazine, September, 1934. But the headline and the caption use the words “in the manner” of Schiaparelli, which not quite the same as ‘Schiaparelli’s Tweed Dress.’

Photographed by Arthur O’Neill

Vogue Designer Patterns

Vogue, Butterick, and McCall’s are now all one big company. The company history on their website  tells us that:

“While Vogue Pattern Book featured “couturier” patterns as early as 1937, these patterns were not exact reproductions of actual styles. But in 1949, Vogue Patterns announced “A New Pattern Service—Paris Original Models Chosen From The Collections.” The cover of that year’s April/May pattern book showed photographs of the styles chosen from the eight featured countries [couturiers?], among them Balmain, Schiaparelli, Lanvin, Jaques Fath.

“It was the first time originals from the Paris couture had been duplicated in pattern form. Vogue Patterns became the only pattern company licensed to produce designs from the world [sic] leading couturiers, establishing a precedent which continues today.”

And yet, The Pattern Vault has Authentic Paris Patterns that say “This pattern reproduces exactly the original garment of this design made in Paris by Schiaparelli.”  Sarah at Pattern Vault also has copies of the Authentic Paris Pattern Company booklets for sale on her Etsy store, so it is possible to read the articles in them. (I haven’t – I just discovered them.)  Until some scholar finds copies of the licensing agreements from all the pattern companies, we’ll just have to hope that the designers were participating and being recompensed. I’d welcome comments — I really don’t know the answers to the questions I’m raising.

Shoes from Paris, 1928, Part 2: Netch et Bernard (and Vionnet)

Shoes from Paris to Wear with the New Winter Frocks, Delineator, Oct. 1928

Netch and Bernard (and Madeleine Vionnet) Part 2:  

In a previous post about Shoes from Paris to Wear with the New Winter Frocks, from Delineator magazine,  October, 1928, I described the shoes by Ducerf Scavini pictured on the left hand page.  This post is about the right hand page, with shoes by Netch et Bernard.  [Vionnet married Netch (Captain Dimitri Netchvolodoff) in 1923.]  Netch et Frater shoes can be seen in the collection of the Metropolitan Museum, but I haven’t found any references online to Netch et Bernard.  The Delineator article was written by Marie Beynon Ray.  Her chief point was that “Many American manufacturers still continue to copy the most bizarre and striking of the French designs, and to cheapen and debase the finer ones,” resulting in a “popular misconception of French chic.”

“The French Revolution in Shoes“

“Ten – a dozen years ago – a shoe was merely a utility, a high boot, buttoned and laced, in brown or black leather, sturdily made to do the heaviest service of any article in the entire wardrobe…. Then came the French revolution in shoes – daytime shoes cut like evening slippers, made of the lightest and most perishable of leathers, and frankly proclaiming themelves articles of luxury…. American manufacturers, missing the spirit of French innovation, seized upon its most superficial characteristics, and produced abortions and eccentricities. The most startling and bizarre styles of the third-rate Parisian bottiers who cater to American gullibility were generally selected as models by manufacturers instead of the restrained and elegant but far less noticeable designs of the master craftsmen; and America was swept by a tidal wave of bad taste in footwear. These snub-nosed, be-ribboned, and be-jazzed atrocities were made and sold by the millions in America….”

The Truly Smart Frenchwoman’s Shoes

The truly smart Frenchwoman’s shoes are designed “to finish the foot inconspicuously and in perfect harmony with the costume…. Her preferred footgear for evening is a plain beige satin slipper or one matching the color of her gown or her other accessories…. Netch et Bernard’s model, labeled Q on these pages, may appear a bit unusual, … as far as any really smart Frenchwoman will ever go on the road to eccentricity; and when you consider that this evening slipper can be made inconspicuously in flesh colored crêpe de Chine, piped with flesh colored kid, to be worn with matching stockings… you will admit that there is nothing bizarre about it.”

Ten Netch et Bernard Shoes, Fall of 1928

There are several pairs of shoes in the Metropolitan Museum’s collection signed Netch and Frater, and dated to the 1930s,  but I haven’t found any references to Netch et Bernard. Perhaps the company reorganized between 1928 and 1930, or perhaps Delineator Magazine was in error.  Shoes Q and S, which the article decribes as “a bit unusual,” must have been influential, since they appear to be the ancestors of many shoes familiar to vintage dealers.  The Met’s collection reminds us of the glorious colors possible.

K. Saddle strap shoe. This is dark brown with darker saddle of unborn calf.

L. One-strap shoe for daytime. Beige and brown kid with woven beading.

M. High-cut pump, brilliant and dull in black patent kid and antelope.

N. Evening pump. Rose-beige satin and gold kid – cut out in ladder design.

O. High-cut slipper of two smart leathers, black patent kid and black lizard.

P. Pump with triangles of gold and silver kid on black patent leather.

Q. Sandal of vermillion crêpe de Chine with bands of silver kid for trimming.

R. Mule of gilded wood. The straps are silver kid encrusted with gold triangles.

S. Evening sandal. A simplified model in flesh crêpe and colored kid.

T. Laughing mask mule. Soft bright blue kid with gold piping and lining. [Viewed from the front, this mule would bear the mask of comedy! In profile, it shows one eye and half of the smiling mouth.]

Netch et Bernard: The Vionnet Connection

Click to enlarge

“One model, lettered Q and S…may appear… not ornate, but a bit unusual…. Doubtless the design was inspired by the beautiful triangular and V shaped motifs which Madame Vionnet uses so ubiquitously, for the Netch of Netch et Bernard is Madame Vionnet’s husband, and his shoes, shown in conjunction with Vionnet’s dresses, are frequently inspired by her designs…. In many of the models, a touch that is purely classical or geometrical indicates the intention of this bottier to harmonize his shoes with the costumes designed by Vionnet, a feature of which the chic woman may well take advantage.” Although Netch is not often mentioned in connection with Vionnet, Betty Kirke’s Madeleine Vionnet, an extraordinary book, confirms that Netch and Vionnet were married in 1923, and that, “after they married, he supplied the shoes for her salon.” (p. 135)  They separated in the 1930s and were divorced in 1943.  Monsieur Bernard remains a mystery to me.  Here is the relevant text, from Delineator Magazine, October, 1928, page 129: