Tag Archives: twenties dress

Great Twenties’ Styles for Girls 8 to 15: April 1929

Three Butterick patterns for girls 8 to 15 years old, Delineator, April 1921, page 38.

Three Butterick patterns for girls 8 to 15 years old, Delineator, April 1929, page 39. The legs look coltish, (as they did in 1960’s illustrations…) but the bodies have credible proportions.

The daytime styles we think of as quintessentially “nineteen twenties” have kneecap length skirts, dropped waists, a sporty air, and proportions that look pleasant on an actual female body. The elongated fashion illustrations of the Twenties are hard to imagine on a normal young woman — but these illustrations of teens look “just right” to me.

These charming and sophisticated Butterick patterns for girls 8 to 15 years old are easy to imagine on a real (and adult) person. If you’re seeking inspiration, scroll down for the details:

A suit (dress plus matching coat), a dress, and a suit made up of suspender skirt with attached blouse, and jacket. Delineator, April 1929. Only the suspender skirt (right) is a style not worn by older women.

The dress in the center looks girlish in comparison to its neighbors. On the other hand, that’s a lot of eye makeup! Delineator, April 1929, page 39.

Here are the details:

Butterick 2572 has pleasant proportions, and those bias cut chevrons at the neckline of the sleeveless dress would look just as good without the 3/4 length coat. (Nice detail: the chevrons are repeated on the coat pockets and sleeves.)

Butterick 2427 has nothing childish about it. A long tie in back is purely decorative, but flatters the figure.

The sleeve/armhole treatment is very 1920s, and the swooping curve of the yoke, balanced by a curve on the skirt yoke, is elegant and sophisticated. If you were copying these designs for an adult, a small bust dart — or two — in each side seam would be a good idea — and common in women’s patterns from the later 1920s.

Butterick 2574 has a suspender skirt. They were worn by young adults, but not by matronly types.

Butterick 2485 owes a lot to Chanel; her jersey suits and cardigan sweaters were a major influence on the acceptance of casual chic.

You could make two blouses to go with this skirt, which hangs from an underbodice rather than the waist: one dark blouse and one in a lighter color. Bingo! Two suits instead of one. (Two neckline variations are illlustrated, too.)

Butterick 2507 uses fagoting — a nod to Vionnet — in a simple shift. I think it would look better without the embroidery.

In spite of those tucks over the breast, I’m not sure this one would be flattering to a grown woman.

Crisp and made dynamic by plaid on the bias in the top of the dress and pocket. Butterick 2558, for girls 8 to 15, Delineator, April 1921, page 39.

A long-sleeved version was also possible; and of course, the plaid is zingy, but not required. This dress could be monochromatic, or made with a white or cream top and a dark skirt and trim, or in two shades — or two textures — of the same color, for a dressy look.

I can’t imagine many pre-teens getting away with the amount of mascara illustrated, but….

Actress Phyllis Haver in an ad for Maybelline Mascara, Delineator, April 1929, pg 107.

Blame it on the movies. Advertisers didn’t have photo doctoring programs in the Twenties, but they still managed to doctor photos….

A little exaggeration in an ad for Maybelline Mascara, 1929.

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Paris Shoes for April, 1928

All shoe illustrations are by Dynevor Rhys, from Delineator magazine, April 1928. Black patent leather high heel with gold piping, by Ducerf-Scavini.

All these shoes have rather high heels, but similar shoe styles are shown in the Butterick pattern illustrations in Delineator for April 1928, too.

High heels resembling the Paris shoe designs are shown with these Butterick pattern illustrations, also from the April, 1928 Delineator magazine.

Another high heel for afternoon. In smoke gray trimmed with narrow bands of black kid. By Ducerf-Scavini.

The extremely delicate trim and piping on these shoes signal designer craftsmanship, and couture prices.

This “street shoe” has a silver buckle to accent its silvery gray goat skin. By Ducerf-Scavini.

A putty gray-beige high heel with two straps for “a foot with a very high instep.”

You can see the whimsical signature by artist Dynevor Rhys just below the heel.

Black patent leather accents this black antelope shoe, a play on texture by Ducerf-Scavini.

The very high instep in this shoe reminds me of some “gladiator” variations from the 2010s. I have no idea how anyone got a foot into this shoe, but it’s stylish…. And it must have been gorgeous in rose and silvered gray. By Perugia.

This shoe has a leather tab instead of a buckle. In silvered leather, by Perugia.

An evening shoe with two bands of rhinestones over the instep, by Hellstern.

The accompanying article mentioned that actresses in Paris were wearing shoes with rhinestoned heels, off stage as well as on.

High style for evening, in these shoes with “diamond” on heels and straps. By Perugia.

A less dramatic look from Perugia, with a tiny open triangle where the T-strap meets the band. In “Opalescent pink kid” they would have complemented a pink chiffon frock,

Here is the text that accompanied the two-page shoe article.

A colorful pair of shoes by Ducerf-Scavini is in the collection of the Metropolitan Museum, and the Met has many examples of shoes by Perugia. This gold and silver pair –with quite unusual heels — dates to 1928-29.

 

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Great Aunt Cora: From Victorian to 1930s

EDITED 4/14/2018: Well, this is awkward…. Weeks after writing this post, based on photos identified by my late Aunt Dot, I finally located information about when my Great Aunt Cora and her sister Laura died. Cora, Mrs. McGarvey, died on December 31, 1924. Laura, the city librarian, died in an automobile collision in 1936. That means that the woman in glasses in this photo, whom I identified as Cora, is actually Laura.

Cora [Laura], an unknown man, and Alice, in the 1930s.

So it was Laura who wore short skirts in the 1920s, and horn-rimmed glasses, and worked outside the home for most of her life. Cora was not the merry — or at least, cheerful — widow that I thought she was. It was Laura who took road trips and adapted to changing fashions as shown in these photos.

This is definitely Cora, because she wrote the inscription on the back of the photo herself — “To Sister, From Aunt Cora.”

Cora as a young woman; there is a pretty comb or hair decoration in her bun. Her strong profile is one way I can distinguish her from her sister Laura, but it’s not always easy. [EDIT 4/17/18: No kidding! I often got it wrong — and so did my aunt, who still knew them when she was an adult.]

EDIT 4/17/18: Beyond this point — beware of unreliable identifications and deductions regarding Cora!

Left, my Great Aunt Alice; right, her older sister, Cora. Early 1900s. The unexpected bow in Cora’s hair may be an early indication of her un-stodgy fashion sense.

As I try to sort family photos, I am also trying to sort out their stories. At dinner last night, my husband gave me a strange look and said, “It’s hard to realize that you knew people born in 1875.” Well, I only knew them insofar as a child can know an adult, but I have vivid memories of my Aunt Alice in her seventies, still witty and clever. I wish I had known her older sisters, Cora and Laura.

Cora was the eldest, born in 1867.

Cora Barton as a child. She was born in California in 1867, the eldest child of five. [EDIT 4/17/18: this may not be Cora, in spite of what my aunt Dot wrote on the back of the photo. It was more common to photograph the firstborn child, especially if it was a boy: Cora’s brother Charles was born in 1862, when very young boys were sometimes dressed like this.]

When you think of the rapid change of Euro-American fashions in the 20th century (and before) it is extraordinary how often women had to adapt to new ideas — in clothing, and in concepts of modesty and propriety. [EDIT 4/17/18: At least this — the point of sharing all these photos — is true.]

Cora and Laura came into their teens in the era of outrageous 1880’s bustles. As the daughters of a Methodist Episcopal minister, they didn’t have a big budget, and it must have been important to look “respectable.” Here, they are reclining informally with a friend at a photographer’s studio:

Cora and Laura Barton with their friend Alice Mason. Probably late 1880s. [EDIT: No reason to doubt this photo — although the names of the sisters may not be in order….]

In 1920, she sent this old portrait photo of herself to her niece Dorothy, nicknamed “Sister” or “Sis” because she came along after two brothers. The back says, “To Sister, from Aunt Cora, July 1, 1920,” but the hair style is much earlier.

Cora as a young woman; there is a pretty jeweled comb or hairpin in her bun.

At the time of her marriage, the local newspaper reported that she had “had charge of the city library” for a number of  years. (Did they confuse her with her sister Laura, or did one replace the other as librarian?) [EDIT 4/17/18: Maybe everyone had trouble telling them apart?]

[Probably] Cora — who became Mrs. William McGarvey in 1896 — sitting on a porch hammock; probably early 1900’s.

She is wearing a shirtwaist with a collar that could accommodate a mannish, detachable stiff collar. They often appear on turn-of-the-century American women drawn by Charles Dana Gibson.

And she looks very sad.

Cora Barton McGarvey [EDIT: or this could be Laura….] in a shirtwaist blouse. I don’t have the expertise to date it precisely. This is one of the few pictures in which she looks like the eldest of the three sisters.

EDIT 4/17/18: Anything about Cora from this point on is suspect; she was married to Mr. McGarvey; the 1900 census information is correct; but she is not the woman identified as Cora in these photos.

I can’t say that her marriage was an unhappy one, but, as you will see, widowhood seemed to suit her. In the 1900 census, her two adult sisters were living at the same address as the McGarveys. William McGarvey, accountant, was listed as head of household, Cora as wife, and her sisters Laura and Alice as “servants.” There was one male “servant” or farmworker, and no mention of children. Cora’s husband died in 1918.

In the 1920 census, Cora was a widow, Laura was the city librarian, and Alice was a clerk at the county courthouse. Laura was listed as head of household, and her sisters were listed as her “partners.”

At 54, Cora [no, Laura], top left, looks quite fresh and modern in her checked dress in this photo from 1921. Her youngest sister, Alice, is holding their baby nephew. Do Cora and Laura [No, Cora] (in sweater) have cropped hair? It’s more likely that they have just cut bangs.

From this point on, Cora [Laura] wears glasses — and not “old lady” wire-rimmed glasses — “modern-in-the-twenties” horn rims.

Cora [No, Laura] eating watermelon on a road-trip vacation, 1920s.

Here’s another photo from the same vacation:

My mother, center, flanked by, on the left, her Aunt Alice (born in 1875) and right, her Aunt Cora, (born in 1867)  [EDIT: no, it’s Laura, born in 1869] climbing a hillside on their trip to Catalina Island, 1920’s. They don’t look at all like the stereotyped older women in 1920’s advertising or movies — no long skirts, no dark dresses, no lace collars. (However, their skirts are not as short as their 20-something niece’s.)

A reminder of the drastic changes in fashion they experienced —

Here are Cora [?] and Alice as they looked in their thirties:

The Barton sisters wearing the “pouter pigeon” look of the S-Bend era, probably before 1910.

And here they are in their fifties:

Left, Alice (b. 1875;) center, their sister-in-law, also born in 1875; and right, Cora, born in 1867 [EDIT: It is Laura, born in 1869.] These “late Victorian” women have all adopted short skirts and bobbed hair during the 1920’s.

And they kept right on wearing up-to-date clothing. Here, they have even adopted sleeveless dresses — these women who grew up wearing high collars, long sleeves, and floor length skirts.

Cora, an unidentified man, and Alice, in the 1930’s. [CORRECTION: Laura, probably her brother John, and Alice — the three surviving siblings. John died in 1934.]

They looked like they were having a good time on that vacation with my mother….

Cora [No, Laura], on the left, enjoying watermelon from a roadside stand, 1920’s. Cora/ Laura almost seems to be flirting with the camera. My mother is on the right.

I liked Cora’s playful pose so much that I tried to paint her:

“Watermelon Stop No. 2”

I wish I’d known her.

Cora, a sister-in-law, Laura, and Alice dressed as hoboes; note the little brown jug in Cora’s hand. Probably before 1910. [Edit: Or: Laura, a McGarvey sister-in-law, Cora, and Alice.]

P.S. If the story of fashion for older women interests you, be sure to visit the American Age Fashion blog.

 

 

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Two Piece Dresses from 1926

Two-piece dresses from Butterick, Delineator, February 1926. These are for teens and small women.

Iin 1926, as far as Butterick patterns were concerned, a dress could be either one piece or a separate top and matching skirt. In fact, some one-piece dresses were made to look like they were two-piece!

The dress on the right, Butterick 6575, has a deep band near the hip (with buttons), simulating the look of a separate blouse and skirt.

“Many slip over one-piece frocks give the effect of a two-piece costume….” Delineator magazine, February 1926.

The pattern on the right, Butterick 6637, is another dress pretending to be a skirt and blouse. Notice the line of stitching that marks a deep tuck at the hip.

Left: one-piece dress 6533 pretends to be a two-piece. Both these dresses make good use of use border prints.

Real two-piece dresses were available for all ages, from pre-teen to adult.

On the right, Butterick two-piece dress pattern 6582. The separate skirt has a lively flare. (6605 is a one-piece dress.)

“The circular skirt is attached to an underbody.” The underbody (also called a “camisole body or yoke”) was one of the tricks of making a Twenties’ skirt and top work well together. I’m going to re-show the two outfits that started this post so you can compare them easily with two very similar skirt patterns that have underbodies:

Two-piece dresses from Butterick, Delineator, February 1926. Left, Butterick 6545; right, Butterick 6562. For misses 15 to 20 and small women.

If you could see through their blouses, you’d see that the skirts have no waistband. They hang from the shoulders, like this:

Butterick skirt patterns 6601 and 6658, also from the February issue of Delineator.

The circular skirt (6588) “may be worn under blouses or as a slip under frocks.” It’s for ladies 35 to 52 inch hip –quite large.

Alternate views of Butterick skirts 6601 and 6588 show a “hanging from the waist” option, with the underbody option shown in dotted lines.

Although some nineteen-twenties’ skirts did have a waistband, the skirt with underbody didn’t need darts or other shaping for a natural waist that might be ten inches smaller than the hips. In fact, the woman aiming for a boyish figure tried to pretend that she had no waist.

Foundation garments (or corselets) designed to minimize the difference between waist and hip. Delineator, February 1926, p. 24.

Obviously, if you turn your figure into a tube shape, any skirt which hangs from your waist will tend to slide down. (And twist around as you sit and walk.) The underbody solved this problem by making the skirt and top move independently of each other. However, as seen above, pattern illustrations did show a waistband option for those who still had a waist….

Alternate views of Butterick skirts 6601 and 6588. Feb. 1926. These are skirt patterns, but 6588 has several lines of stitching at the hem, which would make it stiffer when used as a petticoat.

I’ve been looking for a good underbody illustration for some time. Making a Twenties’ costume this way means that the actors’ clothes will fall neatly into place when they stand after sitting.

Now for some more Twenties’ two-piece dresses:

Butterick 6522 is simple and charming (don’t forget those important long ribbon ties!) Designed for a youthful wearer, 15 or under, the skirt is shorter than for a mature woman — giving it the knee-length proportions that look “right” to modern eyes. The skirt looks much like No. 6601 (and  dress 6545.)

The use of the word “juniors” surprised me.

The dress featured with this girl’s coat is pattern 6582, illustrated in blue above.

You could make this entire outfit from Butterick patterns: Coat 6609, two-piece dress 6582, and hat 5952. February 1926. Butterick also sold the embroidery transfer, No. 10383.

A closer look at that coat and hat:

Butterick coat pattern 6609 with hat embroidered to match.

Butterick two-piece “dress” 6577 uses double-sided, reversible fabric:

Butterick two-piece dress pattern 6577, from February 1926. “The straight skirt, with its inverted plait at each side front and at the center back, is attached to an underbody with a camisole top.” For teens and small women.

Having grown up wearing cotton flannel pajamas, I have to remind myself that flannel can mean wool.

Right, two-piece dress 6597. Left, a simple one-piece dress that uses a border print for impact. February 1926.

Butterick two-piece dress 6581. The stripes are probably a border print. For teens and small women.

“Its straight skirt, attached to an underbody,” has inverted pleats. This particular skirt style keeps reappearing. Dress skirts from the early 1920’s often had all the pleats or fullness in the front, with a perfectly “plain back,” but now the back of the skirt is also pleated or gathered.

Right, the two-piece dress for average-sized women is shown a few inches longer than dresses for under-twenties. These stripes are definitely a border print (See description of its color illustration, below.) Butterick 6608, February 1926, p 32.

The same pattern was illustrated in color on page 29, and without the stripes:

Butterick 6608 from page 29. “The straight skirt, gathered at the front, is attached to an underbody.”

It has a plain back:

Oops: I never supplied the pattern descriptions for these dresses.  Back views of other patterns appear at the end of the post.

Butterick 6545 and 6562 from February 1926. You might not want to include the cutesy animal embroidery, but those decorative pocket hankies appear constantly in fashion illustrations from 1925 and 1926, including several shown in this post.

Bois de rose (rosewood) was a popular color introduced in couture; it’s a neutralized, slightly tan, rose pink — hard to photograph!

Back views of dresses for girls 15 or under. 1926. 658s is a girl’s version of 6562, above.

Back views of one-piece dresses pretending to be separates. Delineator, February 1926.

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A Wedding Party in the 1920s

The bride and groom sit informally on the grass in front of a home, surrounded by a group of young men and women in late-1920’s clothing. (It does look like the bride was trying to avoid grass stains on her light dress.)

While sorting my Aunt Dorothy’s huge collection of photos, I found these charming pictures of an informal wedding in the nineteen twenties. The skirt lengths suggest 1927-28 to me.

Happy faces (for the most part) and real-people hairstyles and clothing from the late 1920s. Left side of group photo. The men’s hair looks natural, not slick or oily.

More wedding guests, this time from the right side of the photo.

Although my aunt knew a great many women called “Dot,” — and she herself was called Dot — I haven’t been able to match “Dot the Bride” to any other photos, so I can’t find her last name, or date her wedding exactly.

Dot Richardson and Dot Robinson, on an office outing to Monte Rio, California, circa 1921.

Dot was the usual nickname for women called Dorothy.

There’s a good chance that like my aunt, the bride or her groom and most of the wedding guests worked at the Southern Pacific Railroad Headquarters in San Francisco. They all seem to be in their twenties or thirties.

Dot and her husband. I love his pocket square. Like the bride, many of the female guests are wearing their Marcelle-waved hair loose, longish, and full. Dot wears dark lipstick, too.

The bride and groom have a sense of humor, judging by the toy bulldog on a leash in the foreground.

Her pale, short dress, worn with almost opaque white silk stockings, has a lace “bolero” jacket and lace flounces. Her feet are swollen; brides don’t get to sit down much at weddings. [When their feet hurt, people used to say, “My dogs are barking.”]

Here the newlyweds pose with the honeymoon car, decorated with a “Just Married” sign and several big, tin cans to make noise as they drive away.

Their friends have tied several cans tied to the bumper to ensure that everyone notices the “Just Married” sign on newlyweds car as it clatters down the road.

Her huge corsage must mean “Maid of Honor.” She wears a light coat over a knee-baring print silk dress; big bows trim her shoes. As sometimes happens with informal weddings, not everyone got the “not too casual” message. (Yes, I mean you, Mister Sweater and No Necktie.) His boutonniere says he’s part of the wedding party.

Even this guest caught in the background wears a dress with a graceful, curving pleated flounce:

I wish we could see more of this dress on a Bette Midler look-alike….

Whether she’s gaining a son or a daughter, this mother looks happy.

The mother of the bride (or groom) looks very up-to-date in her short dress, worn with dark stockings and low shoes. The bride’s dress appears to be waistless, possibly a princess style with a bow and drape at her left side.

The white-haired lady’s dress has a V-shaped lace insert in the bodice, and a two-tiered skirt that just covers her knees. She hasn’t bobbed her hair, however.

I hope this bunch of pleasant-looking young people had very happy lives, and many equally pleasant celebrations.

It’s easy to imagine enjoying their company.

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Fashions for Girls and Teens, February 1927

Butterick patterns for girls, Delineator, February 1927. A young teen (up to age 15) would probably be happy to wear a dress (right) so much like adult fashions of the day. The button detail on the child’s outfit at left is a nice touch, too. Their silhouettes are very different, however.

Butterick styles for teens 15 to 19 years; Delineator, February 1927. There is nothing babyish about these.

There was often a distinct style difference in dresses for young girls and those for adults in the Twenties (and in the early Fifties, for that matter), but Butterick patterns sold for size “age 15 to 20” were often described as designs for teens and “small women.” In fact, since those styles were usually shorter (what we might call “petites,”) the proportions of styles for teens often look quintessentially “nineteen twenties” to modern eyes.

Butterick patterns for teens 15 to 19, from Delineator, February 1927, p. 27. Jacket 1229 was also illustrated in women’s sizes in the same issue. Nos. 1274 and 1288 were sold as dress patterns, although they look like separates.

Dresses for little girls usually were fuller, with no hip belts, and those for very young girls often include matching knickers or bloomers.

Dresses for girls up to 10 years old: Butterick 1261 and 1277; Delineator, February 1927, p. 28. Young girls were not sexualized by dressing them in adult styles.

Smocked and embroidered “peasant” dresses were popular adult styles, too. You can see smocking on dress 1267, below.

These dresses for older girls are mainstream fashions.

Dresses for teens 15 to 19 years old. Butterick patterns from Delineator, February 1927. The robe de style in the middle was often suggested for bridesmaids, but older women sometimes wore more sophisticated versions.

A closer look at these hairstyles:

Three hair styles, 1927. I have no idea what is going on with the two-tone hairdo in the middle [a silk hat?], but the one on the left could be worn in 2018.

An asymmetrical cropped haircut, 1927. Tres chic. The back is shingled.

More about these patterns for teens:

Butterick 1272 has a sheer yoke and sleeves on a darker silk dress. Delineator, February 1927. It was also available in women’s bust sizes 38 and 40.

Coat 1256 has a curved hem, revealing a pleated dress beneath. The scalloped sleeves and embroidered collar add complexity to a simple style.

Details of Butterick coat 1256, from 1927. Embroidery on the inside of the collar is a clever touch, but isn’t mentioned. “For women and young girls 33 to 48 bust” — a larger than usual size range. The back of the collar is scalloped, too.

Butterick patterns for teens 15 to 19; Delineator, Feb. 1927.

This compose dress, Butterick 1269, uses three shades of the same color, or three different colors. This back view shows a long, vertical scarf tie in back, which creates a more slender rear view.

Another compose dress, in two colors. Like most dresses with a basque top, which could fit quite tightly, Butterick 1279 closes with a snap and/or hook and eye opening under the left arm.

Another dress using three colors, Butterick 1267, is essentially a tube cinched with a belt at the hip, and would have been unflattering to almost every woman, in spite of its long vertical stripe.

Outfits for young women 15 to 19, these are “very twenties.” The pleats on each skirt are treated in a different way — quite a variety.

The skirt of Butterick 1274 has inserted pleated godets — plaid cut on the bias, in this illustration. The skirts of two-piece dresses like this one often hung straight from a sleeveless underbodice, so there was no shaping needed at the waist.

Right, below, is another view of coat/jacket 1229, this time lined with the same fabric as the dress bodice.

Here, jacket 1229 combines with dress 1298 to create a suit. It is lined with the same fabric as the dress bodice, although the illustrator seems to have colored in one lapel by mistake.

Butterick 1288 shows a Russian influence in its asymmetrical closing.

Below, these dresses for younger teens do reflect adult styles, although dresses with a Bertha collar like 1271 were usually recommended for very young women.

Two Butterick patterns for girls up to 15 years. Left, No, 1259; right, dress 1271 with a Bertha collar. Delineator, February 1927.

https://witness2fashion.files.wordpress.com/2015/06/1926-sept-p-27-7065-7024-7059-7047-7063-7057-7003-7053-top1.jpg?w=290&h=500

The dress on the left, with a cape-like Bertha collar (from 1926) is much more girlish than the one on the right, although both are for teens.

Beside Butterick 1271, for girls aged 8 to 15, is Butterick 1242, for a girl six or younger. Her doll, Butterick 426, is dressed in matching fabric.

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Women’s Fashions for February, 1927

Butterick patterns from Delineator, February 1927, page 22. Illustrations by M. Lages.

Butterick patterns from Delineator, February 1927, page 25.

These patterns for spring of 1927 show quite a variety of looks, from a graded-color “compose” dress to peasant-look embroidery. There is a bolero dress, plus two shirred dresses, and a really striking coat — simple in style, but dramatic when made in a jazzy fabric.

Butterick’s “informal” coat 1254 looks fabulous in this material. Note the tie belt, which seems to run under the pocket.

The dresses on these pages are very different, but all twelve illustrations show variations on one (rather sloppy) hat style.

Butterick 1300, 1264, and 1270, Delineator, February 1927, p. 22. 1264 has the bolero look — but the bolero only hangs loose in back.

The sheer Georgette vestee — or dickey– is detachable. The bodice tabs extend into belt carriers in back.

Butterick 1270 is a “frock that looks like a coat.” I could use a bit more construction information on that one….

Pages 23 and 24 showed four more outfits, including this graded dress and a dress-and-jacket combination.

Butterick graded-color dress 1282 is monogrammed, a style attributed to Patou, and suggests a jacket — an illusion. Dress 1298 combines with a real jacket, Butterick 1229, to create a suit. Delineator, Feb. 1927, page 23

As is often the case, the back of the outfit is much plainer than the front.

Butterick dresses 1278 and 1253, Delineator, Feb. 1927, p. 24. No. 1278 has a dark band on the skirt and at the bottom of the sleeves. (The dress at the right seems to me to be a bit of a hodge-podge….)

The following fashions are from page 25:

A woman in a shirred dress (Butterick 1238) leads a woman in a tiered, graded-color dress (Butterick 1280.) Delineator, February 1927, page 25. No. 1238 could be made sleeveless for evening, and was available in large sizes.

Details of Butterick 1238 and 1280. No. 1238 is shirred in a semicircular pattern at the closure. The sleeves and belt of No. 1280 repeat the color progression of the skirt tiers.

Butterick 1268 has a lighter yoke and sleeves, and darker banding. Butterick 1276 has sheer, embroidered “peasant” sleeves. Delineator, Feb. 1927, p. 25.

What to wear under these clothes? A light, boneless corselet like this one minimized the wearer’s curves:

A light foundation garment made by Gossard. Ad from Delineator, Feb. 1927.

And don’t forget to dye your stockings to match your dress….

Ad for Putnam Dyes, Delineator, February 1927, p. 121.

 

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