“If you sit in the lobby of any smart luncheon place at high noon, you’ll see these smart women come in. The one who wears a tailored tweed dress, 5961 [left], with careful details — small collar, pockets, buttons, pleats, stitching. The one who wears a black wool dress, 5957 [right], with slits in the streamline skirt and a shining satin sash. The one who wears a bright crepe dress, 5955 [center], punctuated at neckline and wrists with black. There’s a look of Jodelle about the lovely, simple lines. . . . Cheney fabric. Delman shoes. Lilly Daché hat. Furs from Jaekel.”
I confess that this is my favorite. It has so many great details, including that yoke extending into sleeves; the intriguing pocket shapes, copied on the skirt; and the big button accents. On the other hand, matching the large-scale plaid was undoubtedly easier for the illustrator than it would be for the home stitcher!
“5961: The kind of tailored clothes that came out of Paris are the kind with interesting details — stitching, slot seams, amusing pockets, slit skirts. As Agnes-Drecoll uses details, we used them in this plaid wool dress. For 36 (size 18), 3 yards, 54-inch wool. Designed for 12 to 20; 30 to 42 [inch bust measure.]”
“As Jodelle grows familiar, you recognize the simplicity of her lines. Like our dress with its convertible collar, they suit everyone. . . . Designed for sizes 12 to 20; 30 to 40 [inch bust measure.] “
That’s certainly an interesting sleeve (although likely to swoop into the soup at lunch). The article gives no alternate view to explain how the collar is “convertible.” Here’s a closer look at the Lilly Daché hat, with its brim of pleated velvet:
I had to increase the contrast to show the hat details. According to Lizzie Bramlett, writing for the Vintage Fashion Guild, Lilly Dache’s first hat under her own name was also made of velvet. Fashion trivia fact: “In 1958 Daché hired Halston as a hat designer.”
“5957 A new French house called Robert Piguet slit the skirts of trim wool dresses and filled them in with pleats. We make a dress like that and tie shiny satin around the waist. . . . Designed for sizes 12 to 20; 30 to 40 [inch bust measure.] ”
Writing for the Vintage Fashion Guild, emmapeelpants says that the house of Robert Piguet, founded in 1933, was “the training ground for Dior, Bohan, Galanos, Balmain and Givenchy. ” That’s quite an alumni group! Like Butterick No. 5961, this dress has broad shoulders and a yoke, which makes the upper body look wider (and the hips narrower by comparison. Also notice how much the length of the thigh is exaggerated in this fashion illustration.) The finishing touch on this dress (described in the copy as “a black wool dress,” but illustrated in red) is an exceptionally long rhinestone dress clip at the neckline, added in the illustration to continue the vertical CF seam.
I thought this vintage clip was long — over 2 inches — but it’s nowhere near as long as the one illustrated. The collar of #5957 would look quite different without that big piece of jewelry.
Not Quite Designer Fashions
You’ll notice that all three patterns are described with reference to specific Paris designers, but none of them claims to be an exact copy of a Paris design. “As Agnes-Drecoll uses details, we used them in this plaid wool dress.” “There’s a look of Jodelle about the lovely, simple lines.” “Robert Piguet slit the skirts of trim wool dresses and filled them in with pleats. We make a dress like that . . . .” The Butterick Publishing Company maintained an office in Paris, partly for the purpose of reporting on the latest fashions. Back in the 1920s, it was raided by the French police on behalf of Madeleine Vionnet; they indeed found evidence that her dresses were being copied in the workshop. Vionnet sued. (Source: Betty Kirke’s brilliant book Madeleine Vionnet.)