The first page of The Delineator’s Paris Fashion report showed daytime clothes — suits, coats, etc. The second page showed a mix of evening and daytime clothing designs, sketched for the magazine’s November 1929 issue.
This page combined day, afternoon, and evening styles. The illustrator is Leslie Saalburg. The descriptions are direct quotations from The Delineator. In numerical order:
Similar tucks, used on the diagonal, can be seen on earlier dresses by Vionnet. Click here.
Jenny is one of the designers who was very successful in the twenties, but not much discussed now. This 1930 dressing gown by Jenny is in the collection of the Metropolitan Museum. So is this embroidered coat from the 1920’s, with her label.
Cheruit’s elaborate gowns were successful in the first decades of the 20th century. (Click here for an exquisitely sequined dress (in an interesting article) at the Museum of London. After she retired, her house continued in the 1920’s; her premises were later occupied by Schiaparelli (1935).
The tulle is in graduated tucks. Click here for a black tulle Lelong gown from the early 1930’s.
This evening gown, in the collection of FIT, is print chiffon, apparently from the same louiseboulanger 1929 collection. Click here for an earlier 1920’s evening dress by louiseboulanger — it’s short and feathered, and fabulous.
Another Patou from 1929 can be seen here.
Louise Boulanger worked under several variations of her name. The run-on, all lower case version — louiseboulanger — was the latest.
The hem is long all around, unlike most of the other evening hems shown here, which have “dipping” hemlines or long draperies with a short front hem. (Lelong’s black tulle evening gown — #19 –has an even hem that becomes increasingly sheer near the floor.)
Like the Vionnet dress above, (#23) one shoulder is revealed and one is covered.
The hem appears to be slightly raised in front.
In Part 1, I mentioned that Jean Patou took credit for lowering the hemline in 1929. Here are three images from this 1929 Delineator article; Patou’s dress is slightly longer.
Something much more significant, if you’re tracing changes in fashion, is something that can be seen in these four dresses:
Natural waistlines, emphasized with a tight belt. November, 1929. (Street photographs and movies from the late twenties sometimes show that women were already wearing belts at their waists, especially the belts of coats; perhaps because, without a deforming corset, belts tend to rise to the natural waist on a woman with a well-defined waist and wider hips.)
(“Kit fox dyed coney trimmed collar” means the collar was trimmed with rabbit fur.)