A Skirt and Two Waists, January 1917

Some Butterick patterns for January 1917, Delineator magazine. These are not dresses, but skirts with separate blouses [called “waists.”]

These are not dresses. Bodice, or “Waist” patterns were sold separately from skirt patterns for a long time. (Sometimes, sleeve patterns were sold separately, too.) In Victorian times, practical women often had two bodices made to match one skirt:  a high necked, long-sleeved bodice for day, and a low-cut, short sleeved bodice for evening wear. When upper and middle class families “dressed for dinner” every night, this was a sensible way to maximize the clothing budget. Skirts took several yards of fabric, while bodices took less fabric but more labor.

It’s not surprising that patterns for these 1917 skirts, which take a lot of fabric, were also sold separately from their “waists”, i.e. blouses. This allowed women a great deal of originality in their costume, and made it possible to use one elaborate skirt with several top variations, as shown in these Delineator illustrations featuring Butterick skirt pattern 8875.

The simplest (and barest) version of both skirt and waist were shown in an editorial illustration:

Editorial Illustration, Delineator, Jan. 1917. Patterns for the top and skirt of this evening “frock” were sold separately, and both skirt (No. 8875) and waist (No. 8901) had variations.

[I was able to identify the pattern numbers because they were featured in more detail elsewhere in the magazine. Butterick didn’t usually specify the patterns used for the full-page editorial illustrations that began Delineator‘s pattern pages every month.]

In this illustration, the surplice [wrap] waist is very bare, and trimmed with embroidery  at shoulder and waist:

Waist pattern 8901, shown sleeveless. Jan. 1917 Delineator, p. 37.

On a different page, the same waist has short lace sleeves to match its more elaborate skirt:

Butterick waist pattern 8901, illustrated on page 38. Delineator, Jan 1917.

Waist 8901 requires a “French lining,” which would have been close-fitting and supported the loose folds of the fashion fabric layer. Pattern 8901 was sold in sizes 32 to 46 inches bust measurement.

Butterick Skirt pattern 8875, from 1917

Skirt pattern 8875 can be made relatively simply, as on page 37:

Skirt pattern 8875 as illustrated on page 37, Delineator Jan. 1917

Here, the sides of the panels are open at the natural waist and the front and back panels are connected with a button. The underskirt appears to be finely pleated chiffon, matching the fabric seen at the bodice underarm. [This skirt could also be made with the underskirt and overskirt of the same silky fabric — see color illustration below.]

Editorial Illustration, Delineator, Jan. 1917. Page 37. This version has a plain, sheer, pleated fabric under the silk parts of the skirt and bodice.

The version with short lace sleeves was shown with matching lace — yards and yards of it — for an underskirt.

Waist 8901 with lace sleeves, and skirt 8875 with a lavish lace underskirt. Delineator, Jan. 1917, page 38.

A closer view of this version of skirt 8875:

This version of skirt pattern 8875 has a lace underskirt, open at the sides like the overskirt, and pulled through the opening near the natural waist. The patterned stockings echo the lacy look.

Butterick 8875:  “The skirt has an extremely graceful drapery at the front and back which gives a cascade effect at the sides. The underskirt is cut in two pieces and can be made with a flounce having a straight lower edge. The skirt is 39 inches long in front and has a slightly raised waistline.”

To make the skirt as illustrated would not be cheap. “A medium size requires 4  1/2 yards of taffeta silk 36 inches wide, 1/2 yard lace 22 inches wide, 7  1/2 yards edging 16 inches wide, 1  3/8 yard of narrow edging, 2  1/2 yards material for underskirt. Bottom foundation skirt measures 2  1/2 yards.”  When I was studying this illustration, I wondered how the underskirt could have galloon edged lace on three sides; apparently, the lace we see is the seven-plus yards of 18″ wide edging. The skirt shown here has at least three layers: silk top drape, lace under-drape, and and opaque “foundation skirt.” This skirt pattern was available in waist measurements 22 to 36 inches, for 20 cents.

Waist Pattern 8863 with Skirt pattern 8875

Skirt pattern 8875 was also illustrated with a completely different bodice, No. 8863, which had its own variations.

Other views of skirt pattern 8875, with waist 8901, left, and waist pattern 8863, right. Delineator, Jan. 1917.

Butterick waist pattern 8863 with Skirt 8875:

Waist 8863 with skirt 8875, Delineator Jan. 1917. Embroidered bag transfer pattern 10616.

This is a day or afternoon version of the look. In this case, the skirt has been made with panels and underskirt of the same fabric, and trimmed with beading and tassels, which match the points of the bodice.  “Satin, charmeuse, taffeta or crepe meteor” are recommended. This two-piece outfit is described as a “smart frock.”

Butterick Waist pattern 8863:  “The waist has a draped front which is in one with the sash ends — a very new and effective arrangement for the back. The closing is made at the left shoulder and at the seam under the arm. Two different types of long sleeves with one seam are offered, or you could use the shorter length if you prefer. [The color illustration shows long, sheer sleeves with a cuff, and the black and white views show a tight long sleeve, left, and a below elbow sleeve, right. “The lower edge of the waist can be cut  in a single [black and white illus.]  or double pointed effect [color illus.]

Waist 8863 with a single point center front and a high-collared chemisette, or with the sheer collar and V-neck shown in the color illustration. Butterick also sold the embroidery design, Transfer No. 10101.

“The chemisette and collar can be omitted, but not the French lining, which is extremely important.” [I believe “French lining” refers to a close-fitted lining that does not have exactly the shape of the outer garment; it supports blouson or ruched and gathered effects on the outer layer and was very common on 19th century bodices.]

Waist pattern 8863 with sheer, cuffed sleeves and a double-pointed top, trimmed with beaded embroidery and tassels to match the skirt. The bag is also beaded and tasseled.

In 1917, one skirt pattern and two bodice patterns provided many variations; a woman could really feel that her choices would give her a unique look. Careful planning could also give her several “frocks” which used just one skirt. A second, more workaday, skirt pattern made from coordinated fabric could really multiply her wardrobe.

Simpler Skirts, January 1917

Skirts and blouses for day wear, Delineator, January 1917. p. 45.

Since taffeta and silk were worn in daytime, as well as evening, one of these skirts might also be combined with the waists shown with skirt 8875.

I can’t resist pointing out the chi-chi balls / ball fringe trimming the hat on the right. Ole!

Hat with ball fringe, January 1917. Delineator, page 45.

Tam-o’-Shanters for Women, 1917

Tams for Women. Ladies’ Home Journal, 1917; Delineator, Sept. 1917.

Tam o’ shanters have been popular hats for women at several periods, including the turn of the century . . .

Women in tams, as pictured in Punch Magazine, 1896 and 1901.

the World War I era . . .

Young woman in a fashionable velvet tam, about 1918.

the twenties, the thirties, the nineteen sixties, and into the twenty-first century:

Tam “Beret” pattern, Vogue # 7980, 2004.

Origins of the Tam o’ Shanter

The Tam-o’-Shanter (or Tam o’ Shanter) was originally a hat worn by Scottish men.

Two Scotsmen, as drawn by Charles Keene in Punch Magazine, 1880.

With them it entered the military . . .

A private in Crawford’s Highland Regiment, 1740, Illustrated by Pierre Turner. From Michael Barthrop’s British Infantry Uniforms Since 1660.

and became part of the official uniform of some regiments, like the Argyll and Sutherland Highlanders.

Tams and Berets

In its simplest form, a tam is just a round or oval piece of cloth gathered into a band around the head.

Some tams are made of two round pieces, or a round piece and a cylinder, stitched together around the circumference; the round hole in the lower piece can be eased into the band with or without gathering. This can produce a crisp look, as in this Vogue pattern illustration from 2004.

Vogue pattern 7980, dated 2004.

Vogue called this a beret in 2004; “tam-o-shanter” had disappeared from the current fashion vocabulary by then. Today, you can find tams – some with a 1920s look – at hats.com, but they are classified as berets, not tam o’ shanters.

A beret.

Sometimes the words “tam ” and “beret” are used interchangeably, but a beret usually has a very narrow binding around the head, and a relatively small crown.

Tam, 1917.

The tam o’ shanter usually has a wider band.

Also, the crown of a tam is much bigger than the band, and the tam is rarely symmetrical when worn by women; it tilts or droops to one side or to the back.

Both berets and tams can be worn with the band turned to the inside, where it isn’t seen:

Tam o’ shanter, 1925. Delineator.

Tams for Women, 1917

Tams were very popular with women’s fashions during the First World War. This Paris design “for very young women” is by Paquin, as famous in her day as Poiret or Patou:

A chic Paris costume for ‘very young women” by Mme. Paquin, 1917. Delineator.

Here, a Butterick coat pattern is accessorized with a tam (left):

On the left, a tam worn with a coat pattern by Butterick, Sept. 1917. Delineator.

In 1917, tams could reach rather extreme sizes, something like a chef’s toque (technically, a ‘toque” is any hat without a brim; since tam o’ shanters have no brim,  the line between tams and toques can blur. Most fashion hats described as “toques” are more vertical than horizontal, lacking these huge crowns.)

Women in tams (one is like a chef’s toque), Sept. 1917. Delineator.

A tam made of fur and a tam made of fur or velvet; Ladies’ Home Journal, Nov. 1917.

Tams were also popular because they could be knitted or crocheted:

Delineator crochet patterns, Sept. 1917.

Ad for Bear Brand Yarn, Ladies’ Home Journal, Oct. 1917.

This young lady got really carried away and made a matching tam, scarf, and handbag trimmed with Vari-colored cross-stitch:

Ladies’ Home Journal, Sept. 1917.

A knit tam could be rolled up and stuck in a pocket, which made them handy for wearing to school.

Both Delineator magazine and Ladies’ Home Journal encouraged their readers to economize during the First World War by making new clothes from worn-out or out-moded clothing.  One Home Journal reader bragged that she salvaged enough fabric from her old velvet skirt to make tams for both of her daughters and a “small toque” for herself:

Ladies’ Home Journal, Sept. 1917.

Her examples look very much like this soft tam (or toque?) from Delineator magazine:

Delineator, Sept 1917.

Perhaps the model on the right is explaining that her clever mother made this soft velvet hat from an old skirt.