Tag Archives: vintage fashion

Stocking Memories, 1958 to 1960

Stockings and a girdle from Sears catalog for Fall 1958.

When I started high school around 1958, we wore stockings for dress-up occasions. Usually, those stockings had a seam up the back.

Seamed stockings from Sears, Spring 1960.

(Pantyhose became available in 1959, or so the internet tells me. Seamless nylon or rayon stockings were available — briefly — in the 1940s, but in 1958, seams were the norm for me and the adult women I knew.)

Seamless stockings advertised in Vogue, Aug. 15, 1943.

Of course, stockings are still available and worn by many women, but pantyhose have dominated the market for about 50 years now.

So, for those who never had the dubious pleasure of buying stockings in the 1950s….

A run in her stocking; Lux soap ad from October 1937. Runs looked the same in 1960: a hole with unraveled knit stocking above and below it.

At the Stocking Counter

Perhaps the most astonishing thing about stockings circa 1958 was how many choices you had to make. Faced with the stocking counter — at a department store or even a “five and dime store” — you would see rows and rows of distinctive shallow boxes, each originally holding 6 pairs of stockings. The pairs were separated by layers of tissue; you could buy one pair, incurring the barely concealed scorn of the clerk who waited on you, or two or three pairs of matching stockings (if you could afford them.) Buying the whole box was a wonderful extravagance. Stockings were so fragile that the clerks sometimes wore gloves.

For a young teen, it was a confusing process. You needed to know your size, your “proportion,” the denier, the color, “seam or no-seam,” reinforced heel and toe or sandal foot, knit or “run stop”mesh….

1958 stocking size chart from the Sears catalog.

“What size?” Stockings came in seven sizes. Your stocking size was related to your shoe size, but it wasn’t the same as your shoe size. [Shoes used to come in many sizes and widths, from AAAA (very narrow) to EEE (very wide.)  I wore a shoe size 7 1/2, B width, with a (double) AA heel [Yes, you could buy a wide shoe size with a narrow heel, or many other variations.] As you can imagine, shoe stores had to carry almost as much stock as stocking counters.]

In 1958, your stocking size depended on your shoe size and your shoe width: shoe size 7, width B = stocking size 10.

However, stockings were usually held up by garters (aka suspenders) attached to a garter belt or girdle.

Garter belts, Sears 1958. Also (more accurately) called suspender belts in England.

Top left is a girdle; all the others are panty-girdles. Notice that your stocking top would need to come quite high on the thigh to attach to these garters.

Stockings attach high on the leg, with one garter in front and one in back on this panty-girdle. Sears, 1958.

The suspender part was somewhat adjustable in length, but you had to buy stockings that were long enough to reach the garter comfortably.

Proportioned Stockings for tall women; Sears, 1958. “The extra length reduces garter pull and strain…”

Finding the right proportioned stocking for your height and weight. Sears chart, 1958.  At Sears, your four proportion choices were “petite, shapely, classic, or tall.” (7 sizes x 4 lengths = 28 choices!)

There were so many size variations because 1950s’ stockings did not have much “stretch.” To answer the question “What size?” you needed to know your stocking size and your “pattern” or proportion. (Or you could tell the clerk your height and weight.)

If you wanted long enough stockings, you might have to pay more.

Sears, 1958. The cheaper stockings came in 15 or 30 denier weight, but only one length.

College memory: A friend named Mary was standing in the doorway when my roommate said, “Mary, your stockings are all wrinkled around your ankles.” Mary said, “I’m not wearing stockings. My ankles are sagging.”

Before modern stretch knits, stockings might bag or sag. Worse, if the reinforced top wasn’t high enough, when you knelt down the pull of the suspender could put too much strain on the knee, and your stocking would run or “pop.” Cheap stockings didn’t come in a full range of lengths, so I sometimes came out of church with one or both knees bulging out of big holes in my stockings. All those sizes were necessary because stockings were not very stretchy.

Stocking runs: a tiny hole would unravel the stocking both up and down your leg. This was still true in the 1960s. Lux soap claimed to improve stockings’ elasticity. Ad from 1936.

The stocking clerk might ask, “What weight?” This meant, not your own weight, but the amount of sheerness or strength you needed in the stocking. Light weight 15 denier was very sheer. 30 denier was more durable for everyday wear, and even thicker stockings were available.

“Seams or seamless?” My first stockings had seams, but the seams on the soles of my feet sometimes gave me blisters, so once I discovered seamless stockings, I always bought those. Seamless stockings were available in 1958, but I didn’t discover them for a couple of years. (A vertical seam up the back would have been more flattering to my sturdy legs, but limping on blisters didn’t improve my looks or disposition, so I chose comfort over vanity.) Besides, it’s maddening to be down to your last two intact stockings when you’re dressing for work and find that one of them has a seam and the other doesn’t.

Seamed stockings with reinforced heel and toe (and a seam under the ball of your foot.) Sears, Spring of 1958.

“Reinforced toe and heel? Sandal heel? Sheer foot?” If you wore pumps, then you could buy longer-lasting stockings with reinforced heels and toes. (Toenails or rough heels were hard on stockings.) However, by the 1940s many women wore open-toed or strap-heeled shoes, making the less durable options necessary.

Nude heel or reinforced heel in seamless stockings, Sears, 1958.

“Run stop or regular?” Runs were always a problem. A tiny snag from a chair or a fingernail would start a run racing up and down your leg. Many women kept a bottle of clear nail polish in their purse or desk drawers, because it was the only thing that could stop a run from progressing. If you dabbed a bit on the run before it passed the hem of your skirt, then the stocking might be salvaged enough for future wear. Otherwise, sheer stockings couldn’t be mended. One reason for always buying several identical pairs at the same time: as long as you had two stockings that matched, you could wear them. Once you were down to one stocking, you would probably never find a matching color or knit again, (too many brands, too many choices) so the final stocking might as well be tossed out.

Rayon mesh stockings from Sears, 1944. “Lockstitch resists runs, snags.”

Run-proof stockings were usually a mesh knit. They did get holes, but they didn’t get runs. The holes, however,  kept getting bigger….

Mesh stockings did not run, but they did get holes. And the weave was rather coarse and noticeable. Sears’ seamless mesh stockings from 1942.

“What color?” Stocking manufacturers and fashion magazines urged women to buy stockings to match every outfit. However, the woman on a budget often stuck to one or two shades. We all had drawers full of not-qute-matching stockings (usually kept in a padded box within the drawer.) Sticking to just one color matching your skin tone (or the healthy tan color you wished your legs were) was the economical choice. However, those black or dark stockings for evening were so temptingly glamourous….

Stockings from Sears to match your skin tone or your dress. 1959 catalog.

If you bought the last pairs of stockings in the box, or the whole box (six pairs,) you would be given the box itself, and therefore you would know the brand and color when you needed to buy more stockings a few weeks later.  Otherwise, stockings were simply wrapped in tissue. It was easy to forget where you bought them, the brand, and the name of the color, so your supply of single, unmatched, surviving stockings continued to grow. (One maker’s “nude” or “taupe” was rarely the same as another’s, and “suntan” could mean anything from light golden brown (in expensive brands) to orange (cheaper brands) ….

One Christmas in the Sixties, my father gave me a nightgown set that I didn’t need, so I took it back to Macy’s and exchanged it for a dozen pairs of stockings — two whole boxes! I had several blissful months of not worrying whether I had a pair of stockings that matched. Such luxury!

Next: The Pantyhose Revolution and Supermarket Stockings.

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Filed under 1950s-1960s, 1960s-1970s, Girdles, Hosiery, Hosiery, Hosiery & Stockings, Musings, Old Advertisements & Popular Culture, Underthings, Hosiery, Corsets, etc

Cross-Over Dresses, 1930s

Two Butterick styles from November 1930: 3525 and 3535.

As I browse through images from Delineator magazine, I notice odd trends, like these cross-over button plackets from 1930 to 1933. They seem rather complicated, and I’m glad I don’t have to figure out their construction.

The tricky bit on some, like the two pictured above, is that the part of the dress with the buttonholes on top is different on the bodice and the skirt. If the bodice buttons left over right, the skirt buttons right over left, and vice versa.

Full views of Butterick 3523 and 3535 from 1930.

Butterick blouse 3502,also from November 1930.

The dress with a sort of zig-zag front closing is also seen with the bodice and skirt overlaps going in the same direction:

Butterick 3070 from Delineator, February 1930, page 35.

This variation was suggested as flattering to older women.

The idea seems to be inspired by a couture dress from Patou, which was sketched for Delineator in May of 1930.

A dress by Jean Patou, sketched for Delineator readers among other Paris fashions in May, 1930.

Bodice detail of Patou dress. [Unfortunately, it was one of many sketched on the same page, so the image is small.]

Butterick’s interpretation, featured in September 1930. Pattern 3417.

This approach, with one side of the dress clearly overlapping the other on both bodice and skirt, is easy to understand.

This two-button version of the zig-zag front closing looks simple. Butterick 3462 from October 1930.

It was recommended for older and larger women:

“Youthful” Butterick 3462 was available in large sizes, bust 34 to 48 inches.

This sleeveless dress from August 1930 has a lot going on…. Butterick 3359. It’s not a two-piece, however.

The dress below really has a lot happening — the multi-closing, overlapping front pushed to extremes: **

Three buttons, in three places, on narrow strips of fabric: I can’t help thinking of mummies…. Butterick 3343 from August 1930.

But Butterick had not given up on the really difficult “right over left/ left over right” look. In 1933 two versions of this blouse were featured:

Butterick blouse pattern 4882, from January 1933. I’m still trying to wrap my head around that closure. **

A second version of blouse 4882. Delineator, January 1933.

Below, center, is another 1933 cross-over dress, with the top and skirt appearing to button in different directions:

Vacation fashions from Delineator, May 1933. Butterick 5104 (center)** carries on the cross-over style, but with bigger buttons.

** One possibility is that many 1930s’ garments had a side seam closing, which was almost never shown on the pattern illustrations. That would allow some of these button closings to be purely decorative. Till I actually see one of these “left over right, right over left” garments, I can only speculate.

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Filed under 1930s, Musings, Not Quite Designer Patterns, Vintage Couture Designs, Vintage Styles in Larger Sizes

Sleeves with a Flare: 1930

Sleeves which end in a flare: Butterick patterns from February 1930. Delineator.

Left: bare arms covered by a sheer Bertha collar; Center: bare arms covered by a sheer jacket whose sleeves have a double flare or flounce. Right: bare arms for evening. Butterick patterns in Delineator, April 1930.

1930 was a good year for capelets, Berthas, and other soft, sheer, flowing covers for the arm.

Butterick sleeve pattern 3075, February 1930.

Short sleeves (above the elbow) were also appearing on dressy dresses (and even on dinner dresses.) A sort of combination of the two styles was the new fitted sleeve with a flounce or “flare.” I first noticed these “medieval” sleeves:

The very long, slit flare on these sleeves was “medieval.” Butterick 3265 from Delineator, June, 1930.

Click here for some real medieval sleeves. Was Charles Addams remembering these dresses when he drew Morticia Addams?

Butterick 3534, from Delineator, December 1930. Another example of a flounce or flare with a slit in it.

A side note: notice how many of these 1930 evening dresses have a long, sheer skirt over a shorter, opaque lining.

Three evening gowns with sleeve interest. Butterick 3052, 3044, and 3054 from February 1930.

Digression: The one on the right is not chiffon but a coarse net mesh, and would deserve a closer look even without its above-the-elbow, tied sleeves (definitely a 1930 style.)

Sleeves that tie above the elbow “are entirely new;” sheer skirt over a shorter opaque layer. Butterick “dinner frock” 3054, February 1930.

The flared sleeve, which is my real topic, was included in pattern 3075 — it offered several sleeve styles for updating or individualizing other patterns:

Butterick sleeve pattern 3075, Delineator, February 1930, p. 31

Butterick sleeve pattern 3075, Delineator, February 1930, page 30. This illustration included the tied sleeve seen on No. 3054.

Right, the flared sleeve again. Afternoon dresses, Butterick 3215 and 3202, May 1930.

Here is the flared sleeve on a dress for “madame,” i.e., an older women. (She holds her lorgnette in her hand.)

Butterick 3128, an afternoon dress for older or larger ladies.

(This alternate view shows a tied sleeve instead.)

I inherited this collapsible lorgnette with leather case and long chain, like the one worn in the illustration above.

Left, a dress with removable sheer cape; right, Butterick 3289 has a tied bolero top with long, flounced sleeves.

Both dresses have a shorter, opaque under layer with a longer sheer layer on top.

Detail of the 1930 bolero top, Butterick 3289.

I was lucky to find pattern 3269 at the Commercial Pattern Archive. (CoPA), so we can see the pattern pieces.

Pattern envelope for Butterick 3289.

Right: pattern shapes for sleeve and flare  3289.

In that case, the flare is a circle or oval with a round opening in the center.

I was glad to see that these sleeves were not limited to Butterick styles. Here is a very similar dress and jacket pattern from Ladies’ Home Journal:

Another evening dress with optional flounced-sleeve jacket. LHJ pattern 6483, 1930.

The pattern shapes for the sleeve and sleeve flare. This flare (10) is made very differently.

Another — different — sleeve flare:

A third way to achieve the “flare” sleeve. This one hangs open at the back.

Another flare was seen on this McCall pattern from 1931:

McCall pattern 6617 from 1931.

A short sleeve with a frill (top) and a long sleeve with a surprising shape. McCall 6617.

Also from 1931 is this set of sleeves:

Nine sleeve shapes from 1931. Butterick 3698.

A variety of ways to create a flared sleeve.

And, for real inspiration, here is a couture dress by Ardanse, very sheer from neckline to upper arm, where the lace fabric of the dress creates full, slit sleeves with a big, circular flare; they seem to defy gravity.

Couture by Ardanse, left, and Lelong, right. Delineator, May 1930.

Wow.

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Filed under 1920s-1930s, 1930s, Capes, Tricks of the Costumer's Trade, Vintage Couture Designs, Vintage patterns, Vintage Styles in Larger Sizes

Wide, Sheer Sleeves: A Fashion from 1922

Nearly rectangular sheer lace sleeves with deep armholes. Butterick 3510, from January 1922.

While collecting images of 1922 tunic blouses, I noticed a parallel trend toward very wide sleeves — sometimes rectangular, sometimes funnel-shaped.

Butterick 3510 from February 1922, Delineator.

French designer fashion: wide, funnel sleeves on a gown from Molyneux, Photographed by O’Doye for Delineator, January 1922.

Sometimes they appeared on dresses that suggested the tabard worn by medieval knights.

A sheer under layer with a tabard-like opaque layer on top. Butterick 3508 illustrated in February 1922.

Butterick dress 3508, Delineator, January 1922.

Butterick patterns for teens, February 1922.

Often the sleeves of 1922 were made of sheer fabrics like lace or chiffon.

Dress for teens, Butterick 3474 from January 1922.

This inspiration for these patterns came from Paris couture.

Left: wide, sheer sleeves on a dress by Drecoll. Sketched for Delineator by Soulie, January 1922.

The Paris house of Madeleine et Madeleine showed this dress with sheer, rectangular sleeves that close tightly at the wrist.

Some have armholes that reach almost to the waist:

Butterick dress 3601 from March, 1922.

This Butterick pattern (3393) from December of 1921 cited French designer Jenny as its inspiration. Google image from Hathitrust.org.

Butterick Blouse 3532 from Delineator, February 1922.

Very wide, deep sleeves on Butterick 3406, 1922.

Those were very deep armholes, like pattern 3510:

A closer look at Butterick 3510. “Butterfly-wing sleeves.”

These sleeves were sometimes attached to a slip-like lining, rather than to the dress itself.

Sheer sleeves could also begin from a dropped shoulder:

Left, a Paris designer dress from the House of Beer; right, the same sleeves on a Butterick sewing pattern. 1922.

Butterick 3479 with sheer sleeves. January 1922.

Of course, a very wide sleeve requires a coat to match:

Butterick dress 3465 with coat 3454. January 1922. The dress has a sheer lace bodice over a matching lining.

These enormous sleeves date to 1921-1922.

A dress with very full sleeves, Butterick 3841. 1922.

Funnel sleeves, 1922.

Another distinctive 1920’s sleeve, supposedly based on medieval or “Medici”costumes, was the “troubadour” sleeve, which was very wide — the armhole almost reached the waist — but which tapered to a tight fit in the lower arm and wrist.

Troubadour sleeves. Butterick blouse pattern 1174, from December 1926.

The troubadour sleeve was “a thing” in 1926. More about these sleeves in my next post.

 

 

 

 

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Filed under 1920s, Vintage Couture Designs, Vintage patterns, Vintage Styles in Larger Sizes

Tunic Blouses, 1922

Three out of five dresses pictured are “Tunic Blouses” with matching slips. Butterick patterns in Delineator, January 1922. Page 30.

The outfit on the right in this illustration is a “Tunic Blouse” with matching slip. Butterick 3509 with slip 3489. February 1922.

Another simply cut but attractive tunic blouse appeared in this color illustration:

Right, Butterick Tunic Blouse 3530 with slip 2930. Delineator, February 1922, page 27.

We’ll take a closer look at that one in a minute…..  You may have guessed that “tunic” means an over layer that is shorter than the rest of the outfit. But the one below is not called a tunic blouse — it’s just a “dress.”

Butterick dress pattern 3456. Delineator, January, 1922, page 28.

It took me a while to realize that Delineator was selling patterns, so the patterns which included all the layers were described as “dress” patterns, and those that only contained the top layer were “tunic blouse” patterns. That way, the buyer knew she would have to buy a separate pattern (or use one she already had) for the longest layer, which was usually made as a slip — but with fashion fabric rather than lingerie fabric.

In spite of their overskirts, these are not tunics but “dresses.” Delineator, May 1921.

The Tunic look had been very important in the 1910s:

Tunic outfits in 1914. Delineator.

Then, the longer layer of the outfit might be part of the skirt pattern or part of a blouse (called a “waist”) pattern. Or it could be sold as a complete tunic dress pattern:

Alternative and back views of Butterick tunic dress 6779; 1914.

This version of the tunic look appeared in 1921:

Butterick sold this pattern as a tunic blouse; the skirt/slip pattern was sold separately. Google scan from Delineator, found at Hathitrust.org.

Another tunic blouse pattern from late 1921.

“A blouse of the sort with a suitable slip makes a complete costume. The Florentine neck and wide sleeves are particularly smart.”

In 1922, a variety of tunic blouses were on offer.

Butterick 3509 illustrated in January 1922.

Right, Butterick 3509 — again — as shown in February 1922. Delineator.

Butterick tunic blouse 3497 illustrated in February 1922, Delineator.

Detail of Butterick 3530 from February 1922.

I especially like the surprise of bright yellow lining on this black velvet tunic. The bands on the sleeves seem to be embroidered with birds.

Matching embroidered fabric shows through the slit at the neck.

That dress almost makes me forget that most women would look like a sack of potatoes in it — a beautiful, black velvet, embroidered sack ….

Some of these tunics have very deep slits at the sides. Butterick tunic blouses 3497 and 3507.

Those very wide sleeves were also typical of 1922 — they deserve (and will get) a post of their own.

Black chiffon over a black slip. Strips of coral red trim keep it from looking too bedroom-y.

Butterick tunic blouse 3462 over slip 3428. January 1922.

The simple tunic blouse pattern lent itself to different ornamentation.

“An elastic can be run through a casing at the low waistline. If transparent, the blouse is worn over a slip; otherwise a skirt will do.”

Teens and young women wore tunic blouses, too. Butterick 3462 from 1922.

I’ve written before on the tunic as a transition to shorter styles. These tunics are from January, 1925.

Tunics from Delineator, January 1925. The slit side was still seen.

A whole page of tunics in different lengths, from Delineator, March 1925.

As skirts rose to knee length in the later 1920s, the knee-length tunic became irrelevant.

This tunic blouse appeared in 1930, another time of hemline transition:

This tunic blouse with long skirt is from December, 193o. The tunic is the same length as dresses from 1929. Butterick 3560. December 1930; Delineator, p. 27.

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Filed under 1910s and WW I era, 1920s, 1920s-1930s, Slips and Petticoats

Broad Shoulders for September, 1933.

Wide shoulders were appearing as early as September, 1933.

I had thought of mannish padded shoulders as typical of the late 1930s and early 1940s,…

https://witness2fashion.files.wordpress.com/2016/02/bfn-sept-1943-p-11-suit-dresses-shoulders.jpg

Butterick Fashion News, Sept. 1943. Broad, padded shoulders for women.

… but the September 1933 issue of Delineator surprised me. The huge, ruffled shoulders of the Letty Lynton era (the movie was released in 1932) were an early symptom of a change in silhouette — and the ability of wide shoulders to make hips look smaller in comparison mustn’t be ignored.

Shoulders begin to square up as early as summer of 1933.

Delineator, July 1933, p. 53. Left, a yoke with sharp shoulder line; right, a Letty Lynton ruffled shoulder.

Fall and winter coats offered novelty shoulders, sometimes exaggerated by fur trim:

Tpo of page 61, Delineator, September 1933.

Bottom of page 61, Delineator, September 1933.

Lead paragraph of Delineator article, September 1933, p. 61. “These shoulders look broad, but not stoutish.”

Butterick 5276, a coat with enhanced shoulders, was recommended for a college wardrobe. Delineator, Sept. 1933, page 63.

Even without fur or padded shoulder rolls (reminiscent of Elizabethan fashions!) the shoulders are getting straight and squared off, as in this blouse.

College wardrobe, Sept. 1933.

Patterns for women not going off to college show the same exaggerated shoulder line:

Ladies’ dress patterns from Butterick, September 1933.

Ladies patterns, Delineator, Sept. 1933, page 66.

As hips become impossibly narrow, exaggerated shoulders widen the top of the body.

“Paris frocks” become Butterick patterns, Delineator, Sept. 1933, page 65.

“Coal-heavers’ shoulders” are a feature of this Butterick pattern. Delineator, September 1933, page 55.

Ladies’ dress patterns from Delineator, September 1933, page 55. Note that extended yoke at bottom right.

Butterick 5247, 5270, 5259, and 5365. September 1933.

Extended shoulders were also shown on coats for girls:

Even the little girl’s coat (top right) has wide shoulders, thanks to its yoke or collar.

Older women also benefited from broader shoulders in 1933:

Clothes for women no longer young or slender. Butterick patterns 1933.

Delineator, September 1933. I found No. 5307 at the Commercial Pattern Archive.

Those shoulders, almost square, cannot be achieved without padding, but I have not found a 1933 pattern at CoPA that mentions shoulder pads — not even this exact pattern, No. 5307.

Coats for evening wear were even more exaggerated, evoking the sleeves of 1895:

Evening dress with jacket; Butterick pattern 5279, Sept. 1933.

Evening wrap and evening dress for a trousseau, Delineator, September 1933.

Four years later, in 1937, these patterns for young women were still “broad shouldered.” The “squarely fitted” cape shoulders were especially stylish.

Butterick patterns for young women; Delineator, Sept. 1937.

 

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Filed under 1930s, 1930s-1940s, Capes, Children's Vintage styles, Coats, Vintage Styles in Larger Sizes

Autumn Hats from Paris, 1912

A Paris hat from couturiere Georgette, Delineator, October 1912, pp. 272-273.

It’s hard to imagine some of these hats as suitable for fall and winter, but High Fashion isn’t supposed to be practical. The wind wouldn’t dare disturb a wealthy Parisienne.

Paris hat from Jeanne Lanvin, Delineator, October 1912. “Hat of black antique satin with a soft crown of white taffetas [sic] trimmed with pink roses.”

Most of these hats from Paris designers were featured in a two-page photo spread in Delineator, October 1912, pages 272 and 273.

A Paris hat from Suzanne Talbot. Delineator, October 1912. She was a noted milliner and couturier in the 1920s. Hat of auburn velvet, self-colored tulle, with white and brown roses.

A bigger, sheer layer softens the brim of several hats.

Like Talbot, Lanvin also used a layer of sheer fabric [“frills of black tulle”] to make the hat even wider.

Georgette covered this hat with lace, which seems [to me] an odd choice for fall /winter wear. I had to put this through a photo enhancer to show the detail.

“Evening hat of black and white Chantilly lace turned up at the back. The black lace is used over the white.” Two layers of Chantilly lace? Very extravagant! [This is the first time I have seen an evening hat this large! And the model is not dressed for evening, is she?]

The fabric called Georgette, a crepe-like chiffon, was named after this designer. Georgette de la Plante, who was quite popular in the 1910s and 1920s.

Another very wide hat from Georgette. Delineator, October 1912. “Bell-shaped hat of black velvet rolled up at the back and trimmed with roses.”

Those gigantic hats got my attention, but there were more practical hats from chic designers:

Hat from Lanvin, Delineator, Oct. 1912. “…Black velvet with a trimming of ‘Marquis’ feather.”

“Hat of black satin with real old lace border. Soft black satin crown and ‘Neron’ rose under the brim. By Suzanne Talbot. [It’s rather like a Tam o’ Shanter.]

Flowers or feathers worn under the brim instead of on top of it  could be very charming.

“Brim of black silk sponge tissue, with crown of black satin. White Prince of Wales feather at the right side. By Jeanne Lanvin.” Delineator, Oct. 1912, p. 272.

This relatively simple hat from Suzanne Talbot must have been very annoying to sit next to, or behind. “Panne velvet hat with a piping of white cloth and trimmed with two curled ostrich quills.”

If you weren’t attracted by extremely wide hats, extreme height was also an option:

“White plush hat with black satin brim rolled at the edge and trimmed with two raven’s quills in front. By Suzanne Talbot.”

“Tailor-made hat of black satin with turned-back brim and shaped bands stitched with cords. By Georgette.” [To me, it looks like a shaped felt hat, but perhaps my photo program changed its texture.]

I do like the delicate sheer frill at her wrist, in contrast to her suit. All those photographs were taken by l’Atelier Taponier.

This hat from Doeuillet is another that must have required wearers to calculate the clearance on doorways and cabs very carefully.

Paris hat by Doeuillet; Delineator, November 1912.

Naturally, the illustrators working for Butterick’s Delineator magazine tried to keep up with the latest hat styles.

Hat with a sheer overlay, like many Paris hats shown in the same issue. Delineator, October 1912.

Wide hat with curved brim, drooping feather at one side; Delineator, Oct.1912. Her coat is corduroy.

Hats shown with Butterick patterns in Delineator, October 1912.

But the hat shown in the cover illustration for October 1912 was much simpler and smaller (and sportier) than the Paris hats inside the magazine.

Delineator cover painting by Augustus Vincent Tack. October 1912.

Detail of cover illustration, Delineator, October 1912. Enhanced to show detail

Edit 9/18/19 Here is a full length picture of the blue suit and hat from October pictured above:

500 1912 oct p 229 color 5664 k 5665 w 5668 sk 5669 blue 500 (3)

Illustration from Delineator, October 1912.

 

 

 

 

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Filed under 1900s to 1920s, 1910s and WW I era, Hats, Hats and Millinery, Vintage Accessories, Vintage Couture Designs, vintage photographs, World War I