Tag Archives: style moderne

Striped Coats for Women, 1924

Striped coats were apparently quite stylish in the spring of 1924. Butterick pattern #5181 suggested a boldly striped fabric for a woman’s coat, illustrated in misses’ sizes, and Ford Motors featured an equally bold striped coat in its March advertisement in The Delineator magazine.

Ad for Ford Tudor Sedan, Delineator, March 1924

Ad for Ford Tudor Sedan, Delineator, March 1924

A 1920s Striped Coat Pattern for Misses and Ladies

Butterick’s Delineator magazine, May 1924, pattern # 5181

Butterick’s Delineator magazine, May 1924, pattern # 5181

“5181 – At this season the débutante is in need of this type of coat with a straight lower part joined to a long body with a choice of inside pocket. It may be a longer length if one prefers a full-length coat. Use striped coatings, soft twills, rep cloth, heavy silk crêpe, satin. Lower edge in longer length 46 inches.

17 years or 34 bust requires 2 5/8 yards 54-inch striped wool. The coat is for misses 16 to 18 years or 33 to 35 bust, also Ladies.”

Striped Coat in a Ford Tudor Sedan Ad, 1924

Ad for Ford Tudor Sedan, Delineator, March 1924

Ad for Ford Tudor Sedan, Delineator, March 1924

Ford was late to enter the closed car market, but when it did, a whole series of advertisements aimed at women appeared in the women’s magazines. These ads always showed a woman driver, taking her children to school, shopping, or, here, giving her friend a ride on a rainy day.1924 march p 53 ford tudor 500 dpi striped coat woman driver striped coat

1924 march p 53 ford tudor text striped coat

“Not even a chilly all-day rain need upset the plans of the woman who has a Ford closed car at her disposal. Knowing it to be reliable and comfortable in all weathers, she goes out whenever inclination suggests or duty dictates

“The car is so easy to drive that it constantly suggests thoughtful services to her friends. She can call for them without effort and share pleasantly their companionship.

“All remark upon the graceful outward appearance of her car, its convenient and attractive interior, and its cosy comfort. And she prides herself upon having obtained so desirable a car for so low a price.”

The Tudor Sedan pictured cost $590; the Fordor Sedan cost $685, and a Coupe, $525.

I love the woman’s embroidered hatband. Incidentally, notice how long hems were at the beginning of 1924. The miss who opted for the  7/8 length shown  (#5181) would be wearing it as a full-length coat in 1925.

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A Mid-Twenties Cloche Hat Pattern: Butterick 5218

Butterick Hat and Scarf Pattern, # 5218, May 1924 Delineator

Butterick Hat and Scarf Pattern, # 5218, May 1924 Delineator

The vintage cloche hats I’ve seen have usually been either felt or straw, and store-bought. A milliner needs a hat block to pull a felt shape into a cloche, and stitching bands of straw braid into a hat requires great skill (and a specialized sewing machine, unless you do it by hand.) But that did not prevent women from making their own cloche hats from commercial patterns.

Make a Replica Gored Cloche Hat on a Sewing Machine

Two more views of Butterick Hat and Scarf # 5218, May 1924

Two more views of Butterick Hat and Scarf # 5218, May 1924

Butterick sold several kinds of gored cloche hat patterns in the 1920s. The pattern for this one, # 5218 Hat and Scarf, first appeared in May, 1924, and continued to be shown in illustrations in The Delineator magazine for a year, so it was in style through 1925. This hat is for “Ladies and Misses, ” i.e., adults and teens. (None of the magazine descriptions says whether this hat has four, five, or six gores. It looks like four or five with a center front seam to me.) In the winter, woolen fabrics were recommended for the hat and matching scarf; in summer, silk was suggested. winter and summer

This simple hat could be ornamented in many ways.

You could make it in plaid or solid-colored fabric:5218 side and front

1924 aug p 29 misses hat scarf 5218The hat and scarf could both be embroidered to match:1924 may p 39  just hat scarf 5218 embroidered 5214

You could embroider just the turned-back brim:1924 nov p 36 miss hat 5128 embroidered

You could embroider the crown: two embroidered 5218 hats

You could weave together an easy rectangle of grosgrain ribbons, with diagonally trimmed ends hanging free:5218 view d ribbon trim

The ribbon trim could match the hat color, or contrast with it:three woven ribbon trims

You could use contrasting ribbon trim on the hat and embroider your monogram on the scarf in the same color as the ribbon:1924 june p 28 hat 5218 trousseau dresses cape top rt

Or you could add purchased trim: a flower in summer, a pom-pom of silk-covered cording or feathers, a ribbon cockade, etc.

Sample purchased trims, not shown on #5218

Sample purchased trims, not shown on hat #5218

You should be able to adapt a modern four or six gore hat pattern for your cloche; of course, wool or silk will need interfacing to be stiff enough. Milliner Wayne Wichern uses tailor’s hair cloth as interfacing on his custom hats. If you match the grain of the fabric and interfacing carefully, you can use steam and a press cloth to shape the hat around a tailor’s ham.  Unlike synthetic interfacing materials, real haircloth, like silk and wool, is an animal fiber and responds to shaping with moist heat (Fusible interfacing is not recommended! A cloche needs to stretch.)  For inspiration, visit his website. Wayne Wichern Millinery. He is very creative about creating lovely trims from scraps of felt and straw! And he offers classes at his studio in the San Francisco Bay Area, in case you’d like to take a vacation and come home with a hat.

Hats and trims by Wayne WIchern, Milliner photogrraphed at his lecture at the De Young Museum

Hats and trims by Wayne Wichern, Milliner, photographed at his lecture at the De Young Museum

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

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

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….1928 oct paris shoes article p 118 rt big Netch et Bernard 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.Netch et Bernard K to N

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.Netch et Bernard O  to P

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.Netch et Bernard Q to T

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

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 129:1928 oct paris shoes contd small

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Shoes from Paris, 1928; Part 1: Ducerf Scavini Shoes

Twenty Shoe Styles from the Twenties, and a Vionnet Connection

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

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

Shoes from Paris to Wear with the New Winter Frocks appeared in Delineator magazine in October, 1928.  The article was signed by Marie Beynon Ray.  It’s quite long, and features twenty different shoes, so I will break it up into two posts. I’ll show you an overview and close-ups of the shoes from the left hand page first, with their descriptions, and discuss the right hand page and text of the article in my next post, but the surprise appears at the very end of her story:  The shoes on the right hand side of the article, by Netch et Bernard, are attributed to the husband of Madeleine Vionnet, and said to be inspired by her designs and shown with her collection.  Netch shoes from the 1930s can be found in museum collections, labeled Netch and Frater, but I have not found a reference to Netch et Bernard. In fact, I couldn’t find an internet mention of Vionnet’s relationship with Captain Netch, although their marriage is discussed in Madeleine Vionnet, by Betty Kirke.

Ducerf Scavini Shoes, Fall of 1928 1928 oct paris shoes Ducerf Scavini

The shoes on the left side of the feature are all from the Paris establishment Ducerf-Scavini. [The name is hyphenated in the article.] You can see a slightly later pair of Ducerf Scavini shoes, very colorful, in the collection of the Metropolitan Museum,  and other pairs, with label, at Shoe-Icons.  Ms. Ray points out that all ten Ducerf Scavini shoe designs are based on the same model, with additions and variations. “It is so easy to select one model and then say, ‘And I’ll take the same thing in beige antelope and brown patent leather for afternoon; in turquoise crêpe de Chine with gold pipings for evening; in white antelope and brown and white lizard for sports….’ “ducerf-scavini A to DA. Twisted strap slipper. It is dark blue satin with gold piping and embroidery.

B. Evening slipper. A line of silver kid and strass on iridescent pink kid.

C. Low-high heel mule. The gray antelope is bordered with kid, lined with satin.

D. Satin slipper of green and white with an emerald and diamond ornament.ducerf-scavini E FE. Buckle slipper. The leather is gold lizard and stones are square-cut topaz.

F. Polka-dot slipper for afternoon in two tones of beige with mauve dots.ducerf-scavini G to JG. Modernistic shoe encrusted with silver and patent kid on gun metal.

H. Crêpe de Chine slipper. An evening model in pale green with silver kid.

I. Straw shoe for the south. Natural panama trimmed with scarlet lizard.

J. Sports shoe. The brown and white classic of the sidelines, leather heeled.

To be continued….

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Five Blouses and a Hat from 1924

5 blouses, 1924

One Vintage Pattern Leads to Another

Photo used with permission of connieandcompany

Photo used with permission of connieandcompany

When I used this blouse pattern, # 5508,  as an example of how vintage Butterick patterns could be dated using witness2fashion.com, I discovered four other interesting blouses on the same page of the Delineator, September, 1924.

Three Twenties Blouses (click on image to enlarge)1924 sept blouses 5502 5508 5486 10225 p 31 top

Blouse #5502: “For Fall, choose a slip-over blouse of crêpe de Chine, silk broadcloth, satin, etc., to wear with a two-piece skirt of wool rep, soft twills, cheviot, etc.”

Blouse #5508: “The slip-over blouse is smart to wear with a wrap-around straight skirt with set-in pockets, etc. Initials trim this blouse of heavy crepe de Chine, etc.”

Blouse #5486: “A new costume is composed of a jacquette blouse of crêpe de Chine, silk crêpe, or satin crêpe and a one-piece wrap-around straight skirt of soft twills, etc. The embroidery is easily done.” [Hmmmm. Define “easily.” It seems to be done with a blanket-stitch. You could purchase Butterick embroidery transfer 10225.]

Two More Twenties Blouses 1924 septblouses p 31 btm

Blouse #5490:  “The scarf collar slips through a slash and gives a new effect to this slip-over blouse of plain or printed crêpe de Chine or silk crêpe, or of satin crêpe. 36 bust requires 1 3/4 yard 39-inch novelty crêpe.”

Blouse #5498 and Hat #5353:  “Both collar and cuffs of this slip-over blouse with a shoulder yoke may be sewed to the blouse or detachable. Use silk broadcloth, heavy crêpe de Chine, silk jersey, silk crêpe, etc. For the tricorne hat use velvet, duvetyn, etc. “

Both these blouses could be made with long or short sleeves. [Theatre curtains are often made of duvetyn, a brushed pile fabric which was light-absorbent – like velvet – but sturdy and able to be treated with fire retardant.]

And a 1920s Tricorne Hat Pattern1924 july p 36 hat 5353I associate clôche hats from the Twenties with felt or straw, but several four-gore or six-gore Butterick hat patterns were available for the home stitcher, and could be made of wool, silk, velvet, etc. 

hat 5353 top left#5353:  “One of the latest arrivals in this country from Paris is the smart little tricorne hat with its gored crown. It boasts a hand-made ornament on its brim. Make the hat of wool jersey, serge, soft twills, duvetyn, broadcloth, camel’s-hair, satin, or taffeta.” [The hat would need to be stiffened; Custom Milliner Wayne Wichern says he uses tailoring supply natural hair cloth in his taffeta and silk hats.]

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Chiffon Blouse, Early 1920s

vintage 1920s chiffon blouse side viewThe Vintage Traveler recently published the Pantone Fashion Color Report for Spring 2014.

I immediately thought, “I’ve seen that color combination before!” A peachy pinkish color, somewhere between beige and tan, with orange, yellow, pale blue, and aqua accents (plus a touch of darker color for contrast.)
I was able to photograph this blouse while it was in the collection of a friend. [The collection has been sold.]  front vintage beaded blouse

The mannequin was very small, so the blouson above the waistband doesn’t show properly, but this is a very close kin to the blouse pictured in this Pictorial Review pattern, which also uses two layers of sheer material to give opacity over the body and transparency to the sleeves:  Pictorial review #9186 detail

The blouse I photographed has a sleeveless layer of the chiffon – probably ‘crepe chiffon’ – inside the outer layer.  The layers were not connected all the way around the neckline. It has above-elbow sleeves and is decorated with appliques of orange crepe chiffon, hand stitching in silk floss in colors of yellow, aqua, and orange, and pale blue and black beads, plus silvery blue beaded tassels. Appliques, silk embroidery, beads and tasselsIt’s possible that some of the beads outlining the appliques are the same color as the blouse fabric, but those in the tassels have a pearly, light blue tone.  The silk embroidery in aqua and light orange continues the pattern of diamond shapes across the back of the blouse, and accents the sleeve hems. back of vintage blouse

You can see the gathering which creates a sash effect at the front of the blouse. The ties in back are very long.  There was no sign of a manufacturer’s label; it’s possible that this blouse was not store bought. Embroidery patterns were a big part of the pattern business in the 1910s and 1920s, when dress styles were often simple but accented with embroidery and beading.  Pictorial Review pattern # 9186 suggests (Pictorial Review) Beading design # 12511 for the neckline of the blouse – available as a transfer in blue or yellow for 25 cents.  PR 9186 beading at neckline

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An Art Deco Fringed Dress, November 1926

nov 1926 butterick  ad pattern #1090In this illustration by Jean Desvignes for The Delineator, Butterick pattern #1090 is a classic of Style Moderne, the repeated curves of the lines of fringe accented by the repeated triangles in the model’s jewelry – and in the shape of her fingers, her stockings, and the elongated triangle formed by her legs. Even her shingled hair, worn smooth over the crown, curves to expose her earlobes and dangling earrings; the curves of the stylized 1920s rose in her hand and the curves and angles of the constructivist sculpture on the table echo the fringe.

The Chrysler Building's Curves and Tringles

The Chrysler Building’s Curves and Tringles

The tout ensemble reminds me of the Chrysler Building.

Here are some closer views of her Art Deco bracelets and the necklace cascading down her back (very 1920s!) details of  jewelry, heels, fringe

Desvignes has given her a jeweled belt to echo her rhinestone-studded high heels – perhaps it was woven, like a necklace, of black and silver beads – or it may be artistic license, since it ties like a ribbon. It was possible to buy jeweled heels like this  and have them put on your shoes.  Here’s a closer view of the curves of her dress: 1926 fringed dress detail butterick #1090 ad

Another View of the Same Pattern (#1090)

1926 dec #1090 version 2 front p 46 alt croppedDevignes’ illustration was part of an advertisement for Butterick patterns, so it’s interesting to compare his version with this conventional pattern illustration, which appeared elsewhere in the same issue of this Delineator magazine.

“# 1090: Pale dawn-blue georgette spattered with crystal stars is intended for the night life that begins one day and ends the next. The uneven line of the tiers and the backward flutter from the shoulder are extremely chic. The frock is in one piece and may be trimmed with tiers of fringe and made with a higher neck and a sleeve for afternoon. [The version with sleeves was probably illustrated on the pattern envelope.] The design is beaded with sequins. [Butterick embroidery pattern #10422] Designed for women 32 to 44 bust.”

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Elgin Watch Ad, 1928: Art Deco Designer Watches

‘…An Elgin watch at Christmas has always been a perfect … and permanent … expression of Christmas sentiment.’ — Elgin ad in the Delineator magazine, December, 1928.1928 dec elgin watches ad top

Any lovers of Art Deco or ‘le style moderne’ would be happy to find one of these watches in their Christmas stockings, but we’d need another kind of time machine to buy one at 1928 prices.

[I’ll post the full page ad first, then break it into smaller sections for legibility.]1928 dec elgin watches ad full

1920s Pocket Watchespocket watches Elgin

After World War I, wrist watches began to replace pocket watches for men. Only three pocket watches are shown here, all with white gold cases.

The watch at top is priced at $100; the center watch has a 19 jewel C.H. Hurlburd movement and cost $350, and the bottom watch, with ‘a smart cushion case’ cost $50.

Art Deco Designer Watches for Women

I would love to own any of these Art Deco designer wristwatches. [I have labeled them in the photo.] 1928 designer watches

Pierre Cardin may hold the record for the most ‘licensed products,’ but 6 of these 1928 ladies’ watches have designer names attached to them. Lanvin and Molyneux are the most familiar names today, but Agnes, Jenny, Premet, and Louiseboulanger [always written as one word] were successful couturiers whose work was often pictured in the Delineator.  All of these ‘Parisienne’ watches are priced at $35.  They are costume jewelry. That may seem very inexpensive, but consider this ad from the back of the magazine, March 1929: Be a Nurse, March 1929Men’s and Women’s Watches in ‘le style moderneMen's and Women's wristwatches top of page

A. (top left) Set with 2 genuine diamonds; 2 synthetic sapphires — $68

B. (top rt) An Exquisite Elgin — $35

C. (ctr left) Ladies’ Sports Model — $10

D. (ctr rt) Set with 16 genuine diamonds. 17 jewel movement — $200

E. (btm left) Case set with 20 genuine diamonds. 17 jewel movement — $260

F. (btm rt) The Famous Elgin Legionnaire — $19

 

G. (top left) The hours are enamelled on the outside of the case — $95Men's and Women's Wristwatches btm of pg

H. (top rt) A smart restrained style — $35

I. (ctr left) Modernistic case. 17 jewel movement — $50

J. (ctr rt) Lady and Tiger case. 15 jewel movement — $65

K. (btm left) Case inlaid with enamel. 15 jewel movement — $65

L. (btm rt) Another distinguished Elgin Legionnaire — $25

 

Elgin Watch Price List, December 19281928 dec elgin watches price list

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