Tag Archives: thirties fashion

More Fashions from McCall, July 1938

It’s such a pleasure to see full-color pattern illustrations; here are some more.

McCall coat pattern 9809, McCall dresses 9807 and 9815. McCall’s Magazine, July 1938.

Surprisingly, the gold colored garment on the left is a coat for summer; it could be made with longer sleeves for other seasons.

McCall coat pattern 9808, from 1938. It has a “petal neckline.” Available in sizes 12 – 18 and 36 to 42.

McCall dress pattern 9807 from 1938. A dress “anyone can wear,” it was available in sizes 12-18, and 36 to 46.

McCall pattern 9815 from 1938. These floral striped fabrics were very popular that year. Available in sizes 12 through 20 years, but not in woman’s sizes.

For more stripes and flowers from 1938, click here.

Dresses to make your waist look smaller. McCall 9792, 9790, 9791, from McCall’s Magazine, July 1938.

McCall dress pattern 9792 from 1938. It was only available in young women’s sizes 12 to 20.

McCall dress pattern 9790 is described as a new kind of  princess line, shaped with tucks instead of princess seams. 1938. Sizes 12 to 20.

McCall pattern 9791 looks like a dress and bolero jacket, but it is really a dress made from two fabrics. 1938. Sizes 12 to 20.

Three dresses intended for average and larger women appeared together, at left:

McCall dress patterns available up to size 46: 9817, 9805, 9789; right, 9795. McCall’s Magazine, July 1938.

As usual, they were not illustrated on a different body type than the dresses for younger or smaller women, and these 1938 styles do not seem especially matronly. They were not only for larger sizes.

McCall dress pattern 9817 was available in sizes 12 – 18 and 36 to 46. 1938. I would think this dress was more slenderizing than the pink “hourglass” one (No. 9790) above.

McCall dress pattern 9805 was available in sizes12 to 18 and 36 to 46. 1938.

McCall dress pattern 9795 was available in the normal range of sizes, 12 to 18 and 36 to 42. 1938.

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Filed under 1930s, 1930s-1940s, Vintage patterns, Vintage Styles in Larger Sizes

Hairstyles for April 1937

Illustration of “Six New Hairdressings for Gadabout,” Woman’s Home Companion, April 1937. Ben-Hur Baz, illustrator.

The Womans’ Home Companion had hairstyles from leading salons illustrated in April of 1937.

Text for “Six Hairdressings” article, WHC, April 1937. The letters next to each head are the call numbers for radio stations, where readers could listen to fashion reports..

These hairdos look very fussy to me — would a lover would ever dare run fingers through them? –and they were probably full of hidden hairpins.

On the theory that product advertisements use models that women can identify with, I browsed through advertisements from 1936 and 1937 in the same magazine, looking for photographs, rather than drawings. Some hairstyles in ads did have this tightly curled and controlled look.

Tight, sculptured curls in an ad for Ipana toothpaste. WHC, Oct. 1936.

Here, the hair seems to reflect the models’ state of digestion….

Woman to woman advice in a Phillips’ Milk of Magnesia ad, WHC, Dec. 1936.

One of the models in this ad for Phillips’ Milk of Magnesia [a laxative] is definitely curled “up tight” (constipated hair?)

And so is the mother in this article about hairstyles for mother and daughter:

Supposedly, this is how the daughter wished her mother would update her hair style. WHC, May, 1937.

I get the impression that tightly controlled hair styles were aimed at the sophisticated or “mature” reader.  But not necessarily; there’s not a sculptured curl to be seen on these women who are pictured in an ad for Brownatone Hair Dye.

Women in an ad for hair dye show a range of styles, from a late 1920’s Marcel with tiny bun (lower left), to loose, almost collar- length waves. February 1937.

This chic sophisticate has far-from-casual hair…

Ad for Dorothy Gray cosmetics, March 1937. WHC.

… compared to this model in the same issue:

Soft, loosely waved hair on a model in an ad for Colgate toothpaste, March 1937.WHC.

Another off-the-face style from later in 1937:

Natural looking off-the-face waves in an ad for Doggett and Ramsdell cleansing cream. WHC, Dec. 1937. The asymmetrical hairstyle leaves room for an off-center hat.

Below, on the right, a group of models as “career girls.”

Top left, thick, loose curls from an ad for Dodge cars; right, shorter hair for “career girls;” and bottom left, a mother in an ad for Lux laundry soap. 1936-1937, WHC.

The Ponds face cream ads showed a series of lovely women; both the debutante and the duchess have loose, fluffy hairstyles:

Miss Phyllis Konta, New York debutante, in an ad for Ponds cold cream, WHC, March 1937.

The Duchess of Leinster’s hair had to accommodate a tiara. June, 1937, WHC. Ad for Ponds cold cream.

Colgate ran a series of toothpaste ads featuring women who looked lovely until they smiled.

Toothpaste ad, May 1937.

Toothpaste ad, September 1937.

This Bayer Aspirin ad shows two views of the same headache-sufferer. Did taking an aspirin relax her hair?

Before and after in an ad for Bayer Aspirin. WHC, Dec. 1936.

As in the ad for Milk of Magnesia, relief and comfort are symbolized by a more natural hairstyle.

Of course, in 1937, a woman’s hairstyle was dictated by the need to wear a hat while shopping or dining in restaurants, so a curl-free area was usual in daytime hairdos.

Women in a color ad for Dodge, Dec. 1937

Women in an ad for Ponds cold cream, Oct. 1937. The hostess is the only one without a hat, and the crown of her head is smooth — and hat-ready..

Two women wearing hats; Kotex ad, Nov. 1937.

With the exception of motion picture actresses, the hair is usually worn rather close to the head.

Movie starlets in an ad for Richard Hudnut makeup, April 1937.

Actress Merle Oberon in an ad for Richard Hudnut makeup, December 1937. Her hair softly frames her face. Her plucked and penciled eyebrows look more 1920’s than 1930’s. (Compare them with the other models from 1937.)

The brushed-back hair of this model could almost pass for a 1950’s style — but it’s from February, 1937, before the “Six Hairdressings” article was written.

A brushed, almost casual hairstyle from an ad for Dorothy Gray cosmetics, February, 1937. Cartier supplied the jewels.

The model is far from girlish (and the jewels are from Cartier), but she seems much more “timeless” than Merle Oberon, and miles away from this:

Suggested “Hairdressings” from April, 1937. Woman’s Home Companion.

Maybe the ad agencies were more in touch with popular fashion than the editors of Woman’s Home Companion?

Added consideration: One disadvantage of close-to-the-head hairstyles is that, without a hat or fuller hair to balance the width of shoulders and hips, a normal woman can’t come close to the long, lean 1930’s fashion silhouette; this fashion photo from Woman’s Home Companion shows how small the head can look in relation to the figure. [Hair — and shoulders — got much bigger by the forties!]

A photo of “styles in stores;” WHC, March 1936.

In the mid-thirties, as photography replaced fashion illustrations in the “women’s magazines,” women had a more realistic image of what was possible.

Instead of adjusting our idea of beauty, the magazines and designers eventually adjusted the height and weight of the models they used.

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Filed under 1930s, Cosmetics, Beauty Products, Hairstyles, Makeup & Lipstick, Old Advertisements & Popular Culture

McCall Dress Patterns in Color, July 1938

McCall patterns 9802 and 9803, McCall’s Magazine, July 1938.

Even allowing for the difference in printing technology, the color combinations from vintage fashion magazines are often surprising. This mustard yellow and dark olive green suit was on one page, and this light yellow and robin’s egg blue coat, beside a mauve coat and peachy pink dress, was featured on the opposite page, captioned “Colors in Twos or Threes.”

McCall patterns 9812 and 9816, McCall’s Magazine, July 1938.

McCall’s was a large format magazine, so I’ll show closeups of the outfits below.

Detail, McCall patterns 9802 and 9803,for sizes 12 to 18 and 36 to 42. 1938.

McCall 9802 and 9803, showing the detail of the jacket and dress bodices. 1938.

Large line drawings of the dresses without cape or jacket were conveniently placed beside them:

Dresses 9802 and 9803, 1938. A large bunch of artificial flowers, stems down, is tucked into a belt.

Back views, McCall 9802 and 9803.

Dresses with coordinating coats, McCall 9812 and 9816, From McCall’s Magazine, July 1938.

On the left, a sort of hat/scarf, tied in back, which matches the striped gloves. (In surprising colors….) Notice the wrist-exposing sleeves on the mauve coat.

Again, these dresses were also illustrated without the coats:

Dresses 9812 and 9816, McCall’s Magazine, July 1938. Pattern 9816 is shown with a bunch of artificial flowers tucked into its belt.

All four dresses have puffy sleeves, and were available in pattern sizes 12 to 18 and women’s sizes 36 to 42.

The fashion illustrator on these two pages was B. Rothschild:

The illustrator’s signature is B. Rothschild, but the first name is not simply “Blanche”….

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Filed under 1930s, Vintage patterns

Hairstyles and Hats for the Mid-Nineteen Thirties

The hairstyle is designed to be worn with a hat. Delineator cover, March 1935. Dynevor Rhys illustration.

The hairstyle is designed to be worn with a hat. Delineator cover, March 1935. Dynevor Rhys illustration.

In February of 1936, Butterick’s Delineator magazine showed six fashionable hairstyles by some top New York salons — but they were photographed on mannequin heads, rather than real women. (Stylists still practice on such uncomplaining heads while training.) I have added a few photographs and drawings from advertisements to supplement Delineator’s 1936 color images. (Because Delineator was a large format magazine, a full page photo doesn’t translate well into a 500 dpi image. This is just the top half of page 16:

"Tip-Top Hair Styles" article by in Delineator, February 1936, page 16.

“Tip-Top Hair Styles” for evening; article by Josephine Felts in Delineator, February 1936, page 16. These brilliant heads flash across the evening mode. Follow their lead in smart new ways to fix your hair.”

Evening hairstyle for 1936.

Evening hairstyle for 1936 by Charles of the Ritz. Most of us wouldn’t describe this as a “wide halo” of curls.

"The top of the head is entirely without waves."

“The top of the head is entirely without waves.”

Hairstyle to be worn with a cocktail hat, by Michael of the Waldorf. 1936.

Hairstyle to be worn with a cocktail hat, by Michael of the Waldorf. 1936.

"Have your bob three-quarter length, curled from the part on each side all around. You can't see it, for its under her hat, but the top of the head is smooth." 1936.

“Have your bob three-quarter length, curled from the part on each side all around. You can’t see it, for it’s under her hat, but the top of the head is smooth.” 1936.

Evening hairstyle for silver hair, by Emile at Rockefeller Center. 1936.

Evening hairstyle for white hair, by Emile at Rockefeller Center. 1936.

A "distinguished" style for white hair. "Have your mother try it." 1936.

A “distinguished” style for white hair. “Suggest that your mother” try it. 1936.

[This one is for Lynn at American Age Fashion. I’m pleased to see that the one featured 1936 hairstyle that could be worn today without looking bizarre is the one suggested for white hair! The side part would allow for a close-fitting 1930’s hat to be worn on one side of the head, as was the fashion.]

1936 hairstyles werer usually flat at the crown to allow for a small hat pulled down on one side of the head. Delineator fashion illustrations from January 1936.

1936 hairstyles were usually flat at the crown to allow for a small hat pulled down on one side of the head. A lady always wore a hat in public in the daytime – even if it was just a tam pulled down over one eyebrow. Delineator fashion illustrations from January 1936.

Here are images from the bottom of the page of “Tip-Top Hair Styles.”

"The unusual side treatment comes from a rolling braid begun at the part and simulating a halo." Delineator, February 1936, p. 16.

Hairstyle by Michael of the Wardorf, 1936. “The unusual side treatment comes from a rolling braid begun at the part and simulating a halo.” Delineator, February 1936, p. 16. The wide braid begins over her left eye and continues around the back of her head to the left side.

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An artificial braid sometimes formed a halo or tiara effect for evening. Here is a such a braid on Ginger Rogers.

1936 evening hairstyle by Emile at Rockefeller Center.

1936 evening hairstyle by Emile at Rockefeller Center.  “This style is best worn by the very sophisticated.”

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Hairstyle by Charles of the Ritz, 1936. A "tailored" style for evening.

Hairstyle by Charles of the Ritz, 1936. A “tailored” style for evening. The “flat curls above the forehead” are barely visible bangs rolled under at the hairline.

The final hairstyle in the article by Josephine Felts, Delineator, February 1936. You could write to her for more information.

The final hairstyle in the article by Josephine Felts, Delineator, February 1936. You could write to her for more information.

This was certainly a time for “small heads” and tightly curled hair. However, I browsed for a few photos of real women and real hair in the same issue:

Delineator showed these young models in an article about the polite way to chew gum. 1936.

Delineator showed these young models in an article about the polite way to chew gum. February, 1936. The one on the left has the flat crown which suited 1936 hats.

In September of 1936 Delineator showed this model in an evening gown designed by Ruzzie Green.

In September of 1936 Delineator showed this model in an evening gown designed by Ruzzie Green.

Miss Vivian Dixon, a debutante, wears a much more natural looking hairstyle in an ad for Camel Cigarettes.

Debutante Vivian Dixon has long-ish, softly flowing hair in the Came Cigarette ad form Delineator, February 1936.

Debutante Vivian Dixon has long-ish, softly flowing hair in the Camel Cigarette ad from Delineator, February 1936.

I believe a lot of young women who did their own hair must have looked like this model in Delineator’s “How to Sew” feature article:

A model in an article about home sewing, February 1936, Delineator.

A model in an article about home sewing, February 1936, Delineator.

Illustrator Dynevor Rhys made tight curls and close-to-the head hair look pretty:

Advertising illustration by Dynevor Rhys, February 1936. Delineator.

Advertising illustration by Dynevor Rhys, February 1936. Delineator.

But illustrator Hans Flato showed a softer, looser hairdo in a series of ads for sanitary products:

Hans Flato illustration for an ad, Delineator, March 1936.

Hans Flato illustration for an ad, Delineator, March 1936.

Hans Flato illustration for an ad, March 1935. Delineator.

Hans Flato illustration for an ad, March 1935. Delineator.

But one thing all these styles have in common, regardless of the age of the model, is the need to accommodate a 1930’s hat.

WOmen's hats in Delineator fashion illustrations, January 1936.

Women’s hats in Delineator fashion illustrations, January 1936.

Elsa Schiaparelli’s hat designs were very influential in the 1930’s. Click here for a post about them, with many more pictures.

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Filed under 1930s, Hairstyles, Hats, Old Advertisements & Popular Culture, Vintage Accessories, vintage photographs

Red and White Print Dresses, Vogue Patterns, 1936

What’s Black and White and Red All Over?

Vogue patterns 7251, 7253, and 7252, from Ladies' Home Journal, February 1936, p. 25.

Vogue patterns 7251, 7253, and 7252, from Ladies’ Home Journal, February 1936, p. 25.

Perhaps Valentine’s Day inspired the Ladies’ Home Journal to illustrate these Vogue patterns in black, white and red, back in February, 1936. In the 1930’s, the LHJ didn’t use as much color illustration as the Woman’s Home Companion. When the LHJ stopped selling its own patterns, it began to feature Vogue patterns, just as the WHC had begun selling “Companion-Butterick” patterns in the thirties. (Butterick’s own magazine, Delineator, suddenly ceased to exist in 1937.)
For a while in the twenties, Delineator had abandoned full color illustrations in favor of using black, white, and just one color.

Butterick patterns 1419 and 1417, illustrated in red, black and white by Delineator, May 1927.

Butterick patterns 1419 and 1417, illustrated in red, black and white by Lages, Delineator, May 1927.

(I wonder if Edward Gorey had a stash of 1927 Delineator magazines?) Here are closer views of this illustration:

"French frocks in America." Butterick 1419, Delineator, May 1929. Notice the flashes of red in the pleated skirt.

“French frocks in America.” Butterick 1419, Delineator, May 1929. Notice the flashes of red in the pleated skirt.

Butterick 1417, Delineator, May 1927. If you want to know how those top-stitched pleats were done, click here.

A print scattered with red hearts or leaves. Butterick 1417, Delineator, May 1927. If you want to know how those top-stitched pleats were done, click here.

These Vogue dress illustrations from Ladies’ Home Journal use the same method, but in a less distinctive drawing style. What’s black and white and red all over? These pattern illustrations.

Vogue 7251, illustrated in a foulard print with either a black ground or a red ground. Ladies' Home Journal, February 1936.

Vogue 7251, illustrated in a foulard print with either a dark ground or a red ground. Ladies’ Home Journal, February 1936. The alternate view, which appears later in this post, shows a very interesting yoke and shoulder.

Text accompanying Vogue 7251.

Text accompanying Vogue 7251. This dress could be made in dressier versions, using “crinkled satin” or “beige heavy sheer.” a “foulard” design was often used in men’s neckties.

Vogue pattern 7253, for a dress and matching jacket. Ladies' Home Journal, February 1936.

Vogue pattern 7253, for a dress and matching jacket. Ladies’ Home Journal, February 1936. The fabric is illustrated with either a pink or dark ground.

Vogue 7253 pattern information. 1936.

Vogue 7253 pattern information. 1936. LHJ suggested that you make the dress  in a floral pattern for a young woman to wear to school, and for a mature woman in sheer navy with tucked sleeves on the jacket.

Alternate views of Vogue 7251, 7253, and 7252. 1935.

Alternate views of Vogue 7251, 7253, and 7252. LHJ, 1936.

Vogue 7252 from Ladies' Home Journal, February 1936.

Vogue 7252 from Ladies’ Home Journal, February 1936.

Pattern description for Vogue 7252, 1936.

Pattern description for Vogue 7252, 1936. “The dress itself is slim and simple. The jacket has shaped lapels and a diminutive peplum…. in bright red and navy.”

You can see the dress without its jacket in the alternate view, above. (And the text reveals a shortcoming of black and white illustrations: the fabric is really red and navy blue.)

Butterick suggested print dresses for February 1936, too; left, a solid sheer; and right, a sheer floral print.

Butterick 6630, shown in sheer fabric, and 6634 in a floral print. Delineator, February 1936, p. 37.

Butterick 6630, shown in sheer dark fabric, and 6634 in a sheer floral print. Delineator, February 1936, p. 37.

Butterick print dresses from 1936. Left, pattern 6668, right pattern 6634. The dress in the middle is Butterick 6605. All from Delineator, Feb. 1936.

Butterick print dresses from 1936. Left, pattern 6668; right, pattern 6634. The dress in the middle is Butterick 6605. All from Delineator, Feb. 1936.

We can get an idea of what 1930’s dresses looked like on a real woman from this photo:

Her husband approves of this red and white print outfit, which the young woman made on ther Singer Home Sewing Machine. Singer ad, Delineator, Feb. 1936.

Her husband approves of this red and white print outfit, which the young woman made on her Singer Home Sewing Machine. Butterick 6593. Singer ad, Delineator, Feb. 1936.

This evening dress, in a large-scale butterfly print, is Butterick 6666.

Butterick 6666, a print fabric covered with large butterflies. Delineator, Feb. 1936.

Butterick 6666, a print fabric covered with large butterflies. Delineator, Feb. 1936. It is trimmed with triangular dress clips, which are jewelry, not buttons.

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Elsa Schiaparelli showed a large-scale butterfly on this bathing suit in 1929 …

A Schiaparelli swimsuit and hooded coverup illustrated in Delineator, July 1929.

A Schiaparelli swimsuit and hooded coverup illustrated in Delineator, July 1929. “White wool bathing suit embroidered in black.”

… and made butterflies even more popular in  1937:

Elsa Schiaparelli butterfly dress, in the Metropolitan Museum Costume Collection.

Elsa Schiaparelli butterfly evening dress, 1937. Image courtesy of the Metropolitan Museum Costume Collection.

I’m all a-flutter! And I seem to have strayed from red and white and black prints.

P.S. In the nineteen fifties, the answer to the children’s riddle “What’s black and white and ‘red’ all over?” was  “A newspaper.”  Gee, I’m feeling old today.

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Filed under 1920s, 1920s-1930s, 1930s, Sportswear, Vintage patterns

Striped Underwear for Women, 1930’s

Van Raalte Stryps underwear in an ad from Woman's Home Companion, Nov. 1936.

Van Raalte Stryps underwear in an ad from Woman’s Home Companion, Nov. 1936.

Knit underwear for women was nothing new in the thirties, but it lost its strictly utilitarian appearance by featuring stripes and plaids, as shown by these lingerie ads. Van Raalte, a major manufacturer of rayon/silk knits, was even featured by Ivory Soap Flakes in this color ad:

This ad for Ivory laundry soap featured a striped knit undergarment from Van Raalte. Ladies'Home Journal, Jan. 1936.

This ad for Ivory laundry soap featured a striped knit undergarment from Van Raalte. Ladies’ Home Journal, Jan. 1936.

The model is swearing a “Singlette,” which, according to another ad, “rounds the bust and smooths the waistline.” The Singlette was recommended for wear under evening clothes, since it gave a smooth line from bust to hip. It cost $2 in 1937.

Under the bias satin evening gowns of the thirties, a perfectly smooth undergarment would be preferable to the lavish lace-trimmed underwear of the twenties, but plain knit undies looked stodgy and utilitarian. Striped fabric (which Van Raalte called “Stryps”) may have been an attempt to be both decorative and sleek.

Van Rallte ad from Woman's Home Companion, November 1936.

Van Raalte STRYPS ad from Woman’s Home Companion, November 1936.

Rayon & silk knit bra and panties set from Van Raalte, WHC, Nov. 1936.

Rayon & silk knit Stryps bra and pantie set from Van Raalte, ad in WHC, Nov. 1936.

In 1937, a new style of  Stryps panties is shown, with a snug band around the upper thigh instead of the loosely fitting tap pants style. These are more like briefs.

Van Raalte Stryps "Jigger pantie" with a Stryps bra and a long nightgown. Ad from WHC, Nov. 1937.

Van Raalte Stryps “Jigger pantie” with a Stryps bra and a long nightgown. Ad from WHC, Nov. 1937.

You could get Stryps pajamas, too.

Van Raalte Stryps ad from WHC, 1937. Bra, panties, nightgown, and pajamas.

Van Raalte Stryps ad from WHC, 1937. Bra, pantie, nightgown, and pajamas.

Prices for Van Ralte Stryps lingerie, from an ad in Woman's Home Companion, Nov. 1937.

Prices for Van Raalte Stryps lingerie, from an ad in Woman’s Home Companion, Nov. 1937. “For long wear and successful tubbing.” [i.e., washing.]

This ad reminds us that Stryps lingerie was available in many colors…

Prices and colors for Van Raalte Stryps lingerie, May, 1937.

Prices and colors for Van Raalte Stryps lingerie, May, 1937.

… “Petal Pink, Azure, Maize, Nile, Sun Orange, Coral, French Blue, Flame, White and Black.” The slip was available in two lengths. At a time when many families were living on $18 per week, Van Raalte underwear was moderately luxurious. A suggested budget for a college girl (1936) allowed 35 cents for a brassiere and 60 cents for a nightgown or slip — far less than the 75 cents or two dollars Stryps garments cost.

However, they must have been popular, because Munsingwear, a rival in the field of knit underwear, offered its own striped lingerie:

Ad for a striped slip from Munsingwear, WHC, April 1937.

Ad for a striped slip from Munsingwear, WHC, April 1937. [When an ad mentions youth, it’s usually aimed at older readers….]

In addition to striped undies and nighties, Van Raalte offered a line of plaid lingerie called “Kiltees.”

A Kiltees nightgown from Van Raalte, April 1937. Ad in Woman's Home Companion.

Kiltees lingerie from Van Raalte, April 1937. Ad in Woman’s Home Companion.

The “smooth, figure-moulding” singlette appears to act as a panties and bra combination, replacing the “envelope chemise,” the teddy, the “combination,” or “step-ins.” Click here for a gorgeous teddy.

A rayon and silk knit Kiltees nightgown from Van Raalte. Ad in WHC, April 1937.

A rayon and silk knit Kiltees strap-back nightgown from Van Raalte. Ad in WHC, April 1937. It cost $3.00.

Plaid knit undies from Van Raalte ad, WHC, December 1936.

Plaid knit undies in a Van Raalte ad, WHC, December 1936. “Run proof” knits were important to women who had been plagued by runs in their stockings.

The wide selection of colors, stripes, and plaids in these 1930’s undies surprised me. When Formfit Rogers collaborated with Emilio Pucci to create wildly patterned and colorful slips in the 1960’s, I felt quite daring! (I couldn’t afford the Pucci, but of course, there were copies.)

Incidentally, I have been searching for a photo of vintage Van Raalte Stryps or Kiltees garments — without success. I didn’t even find these ads online under “Van Raalte ad 1930s.” If you have encountered one of these garments, I hope these pictures help identify it. [Maybe they did not survive. Lastex is not mentioned in the ads, but there is s suggestion of “figure-moulding.”  Perhaps some Stryps fabric had a rubber content that did not age well?] Comments welcomed!

 

 

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Filed under 1930s, Bras, lingerie, Nightclothes and Robes, Old Advertisements & Popular Culture, Slips and Petticoats, Underthings

Formal Frocks for the Holidays, December 1928

Two Formal Frocks from Delineator, December 1928. Butterick patterns 2379 and 2287.

Two “Formal Frocks” from Delineator, December 1928. Butterick patterns 2379 and 2287.

If you love a challenge in sewing chiffon, Butterick 2287 looks like a great opportunity. (I believe those flounces were were curved, which means they’d start stretching the minute you removed them from the pattern paper.) Hems were still short in 1928, but some formal evening gowns were long — in places:

Butterick evening patterns 2347 and 2367, Delineator, December 1928

Butterick evening patterns 2347 and 2367, Delineator, December 1928.

Many late twenties’ hemlines combined long and short looks. (Click here for more examples.) For young women, a fuller skirt was also an option.

Butterick 2366, evening or bridesmaid's gown for young women. Dec. 1928.

Butterick 2366, evening or bridesmaid’s gown for young women. Dec. 1928.

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The shorter, close-to-the-body under layer is visible through the sheer tulle top layer. This dress is also notable for the bareness of its shoulders.

2366 has "lingerie straps;" usually these slip straps were only visible when veiled by a more substantial chiffon or lace dress shoulder, as in Butterick 2287.

Butterick 2366 has “lingerie straps;” usually such thin straps were only visible when veiled by a more substantial chiffon or lace dress shoulder, as in Butterick 2287. December, 1928.

Such thin straps were previously seen on slips and chemises, so using them to hold up a dress was provocative. The girl who wore No. 2366 as shown was presumably not wearing any underwear above the waist, although she could opt for the more conservative, sleeveless version of the dress as shown in the back view. A metallic tulle (see-through) skirt with a metallic tissue lame bodice would have made a less demure gown than the model’s expression suggests. Another lingerie strap evening dress was illustrated in February of 1929.

Butterick 2387 is meant to flutter. Dark fabrics are suggested, which does not rule out red....

Butterick 2387 is meant to flutter. Dark fabrics are suggested, which does not rule out shades of red…. December 1928.

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The ripple of such flounces is achieved by cutting them on a curve.

Butterick 2379 , with a long “bustle” drape in back, supposedly shows the influence of Chanel.

Butterick formal evening gown pattern 2379; Dec. 1928.

Butterick formal evening gown pattern 2379; Dec. 1928. Note the very low back.

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The long end of the bow “gives the one-piece frock an uneven hem and a down-in-back movement…. The low flare of the tiers [is] in the Chanel manner.” Such bustle bows were seen in 1928 and into the early thirties; The Vintage Traveler recently shared a photo of one originally made in 1932.

Also influenced by Chanel was this “minaret” gown (which looks more like a pagoda to me):

Starched lace stands away from the body in Butterick formal evening dress No. 2347. December 1928.

Starched lace stands away from the body in Butterick formal evening dress No. 2347. December 1928.

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Delineator had illustrated a similar tiered lace dress by Chanel in November:

Lace dress by Chanel, illustrated in Delineator, Nov. 1928, p. 114.

Lace dress by Chanel, “stiffened at the edges,” illustrated in Delineator, Nov. 1928, p. 114.

It’s interesting to think that some (now) droopy, vintage lace gowns might once have been stiffened like these.

Butterick 2367 is asymmetrical, long in places, shown in a metallic brocade fabric, and graced with two enormous, back-to-back fabric flowers at the hip. (Note the very short, close-to-the-head hairstyles in some of these illustrations.)

Butterick evening gown 2367 from December 1928. Delineator.

Butterick evening gown 2367 from December 1928. Delineator.

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This dress seems to be gathered — or more probably ruched, like its flowers — at the side seam under the bow. (Perhaps an underslip supported the weight of this trim?)

The same December issue of Delineator magazine illustrated many beautiful evening shoes to wear with these gowns. Click here for “Dancing Shoes, December 1928.”  And I never get tired of Designer watches from the late twenties. Click here for diamond evening watches, and here for sporty Art Deco Designer watches in color.

Best wishes to everyone who plans to party like it’s 1928! (Oh, wait…. 1929 wasn’t such a good year…. Let’s just set the time machine to 1928.)

Note: I have shown some of these dresses before, but without the details or accompanying descriptions.

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Filed under 1920s, 1920s-1930s, Hairstyles, Tricks of the Costumer's Trade, Vintage Couture Designs, Vintage patterns