"A Snowy Afternoon" (Peterson's Magazine, February 1878)

Although this plate is captioned "A Snowy Afternoon" it in fact depicts garments meant to be worn at different times of the day.

For those who could afford to change clothes several times a day, the general rule was the later the hour, the more formal the costume.  The outfits above would have most probably been worn for afternoon visits and evening parties.  From left to right we have a

• Walking costume of green camel's-hair
• Evening dress of primrose colored silk
• Carriage-dress of brown silk and light-gray India cashmere
• Evening dress of light-blue silk for a young lady
• Walking dress of chamois-colored camel's-hair.  

The "walking" dresses seem rather impractical, but contrary to modern expectations, they were not intended as exercise costumes.  They were fashionable outfits be seen in while promenading and paying visits!

"Make For the Sun" (Woman and Beauty, July 1948)

In their July 1948 edition the editors of Woman and Beauty published a number of simple patterns for clothes that could be worn on a summer holiday.  They included this "enchanting summer dress cut on dirndl lines... from a straight piece of material, complete with beribboned neckline!"  The
instructions are as follows:

You need 3 yards of 36-inch-wide material, plus one spool of shirring elastic.
TO MAKE: Fold material and cut to 44 inch lengths as shown in the diagram.  Join these lengths together by the selvedges to form a tube.  Turn the bottom edge up for about one inch.  Then with shirring elastic stitch and gather the other extreme edge, fitting it to your figure under the arms.  About five inches lower insert another gathering line and once again, five inches below this second line, insert a third, this being your waist.  Cut out and stitch together by the short ends the three six-inch-wide strips.  Fold lengthwise, and between the open edges of each strip stitch the gathered top of the dress for about nine inches at the back and nine at the front.  The rest of the dress top is bound to form armholes.  Roll the strip over and tie on shoulders.

Once again, happy sewing to anyone who ventures this!

"A Lovely Frock for 10/6" (Woman's Own, November 21 1936)

In November 1936 Woman's Own offered its readers a "lovely frock" cut out in a "soft winter-weight woollen" and ready to sew—and all for only 10/6 (50p in modern money).

"Sleeves strike the smart keynote in any of this winter's frocks, and the newest notion of all is to have their full tops box-pleated into a crisply-tailored shoulder line.  Just how up-to-the-minute that looks you can see for yourself on this week's cover, where we show you our Cut-out Woollen Frock made up.  You can make yours look every stitch as smart with next to no effort.

It comes to you perfectly cut, complete even to the crossway facing for the neck, and you'll find that the pieces go together almost by themselves.  The bodice is quite plain; the four-piece skirt only has to be seamed together, with no darts or gathers or pleats to think about.  The very modern twin scarf ends are of self-material, and stitched to either side of the front neck placket.  The belt matches the frock...

What We Offer You
Cut out Frock No. 1,903 in woollen with narrow shadow stripe of self-colour and detachable collar in artificial silk crepe: Price 10s. 6d.

Colours—(1) Chinese green with ivory collar; (2) Squadron blue with ivory collar; (3) Wine tone with beige collar."

Alas, it's not possible for readers of my blog to take up the offer, as it closed on December 19, 1936!

"Sun-Shine Companions" (Spiegel Anniversary Sale, 1955)

The Spiegel "Anniversary Sale" catalogues were miniature versions of their "Big Book" catalogues, with pages packed full of clothes and other consumer goods. 

 Casual wear for outdoor activities (you can see the clothes accessorised by a beach back and a picnic basket).   These postwar play clothes for women consist of mix n' match shorts, tops and capris.  All  are made of cotton, and bright colours, stripes, and modernist prints predominate. Women's pants were still strictly for casual or home wear in the 1950s!

Wool is no longer the material of choice for making swimsuits.  The costumes above are mostly made of "rayon faille Lastex".  (The exceptions are the two at centre bottom, which are made of cotton broadcloth.)   They are more glamorous and form-fitting than their pre-war predecessors though they are also obviously more structured.  All have built-in bras.

From the same catalogue: play clothes for little girls!  They are wearing garments not unlike their mothers', but the manufacturer seems to have eschewed patterned fabrics for plain colours with trimming.  There also seems to be a bit of a Western theme going on.

These beach styles for girls are also very like their mothers' (or older sisters') costumes, right down to the materials they are made of.  However they are obviously less structured (there's no need for built-in bras for a start!)  Ruffles and shirring are used to underline the girlish innocence of the costumes.

Fashions from "Burda Moden" (Mei 1969)

I feel like going back to the 1960s today.  Who would like to join me on a short trip through the pages of Burda Moden?  All these warm-weather clothes appeared in the May 1969 issue (no doubt to give their readers time to sew their clothes for summer proper).

First, we have a pair of standard 1960s a-line shift dresses, with interest added by rows of daisies embroidered or appliqued on hems and yokes.  You can't get a more late-60s-early 70s motif than daisies, by the way.  They appeared on everything from wallpaper to vans.

Lace!  Lace was fashionable in 1969.  But this was not necessarily your mother's lace.  The dress on the left looks particularly modern with its bold, geometric lace pattern.  In shape it's a classic 1960s shift dress, and there's also just a hint of transparency.

 

Two summer sundresses in cheerful yellow, the one on the left worn with long trousers.  (Presumably it could also be worn without trousers.)   And look—both dresses are made with large patch pockets!

(Once again, note the daisies worn by the model on the right.)

These feminine dresses have a rather old-fashioned air: by 1969 nostalgia was in the air.  The captions for this photograph, however, indicate that both these garments were made with the latest synthetic materials—so perhaps not quite so old-fashioned after all.

A History of Blouses, Part 5 (1930s)

BLOUSES ARE BACK

The blouse and skirt, banished for some years is back in favour, and Spring has brought us many adaptations of this style.

The Home, An Australian Quarterly, September 1930

With the start of the 1930s and the onset of the Depression "grown-up" fashions came back into style.  Waists rose, skirts fell, and the frivolous flapper found herself replaced by the serious "business girl".  

Australian Home Journal, March 1930

Pattern No. 11,105.  The ever popular tuck-in blouse is gradually coming back to its old place in the fashion world.  Fastening is down the front; material is cut wider at the waist and ornamented with buttons.  Inverted tucks are supplied on the shoulder, and neck is bordered with a roll collar.  Sleeves are slightly eased into turn-back cuffs.

It's not surprising that the blouse made a comeback as well.  It was not only smart but worn with a suit or separate skirt it was an economical way of introducing variety in a limited wardrobe.

Weldon's Ladies' Journal, November 1931

853832.  There is a decidedly period look about this blouse with its double collar crossing high at the neck... Make in cream Japahan silk or meadow green taffeta.

853632.  Designed for a spotted material... the severe lines of this blouse are somewhat modified by knotted ends.  Round yoke in one with panel is unusual and becoming.

853842.  Great importance is given to hand-made blouses, and here is a design I'm sure you'll like in Clytie satin or washing silk.  Binds or pipings, lingerie folds down the front, and bows give smartness.

8538272.  Raglan sleeves impart a trim, main-tailored appearance so they have been used for this blouse...

853852.  The basque again!  This time the blouse is of softly draping fabric, because it has a scarf collar.

853882.  Paris is using a supple taffeta for many little tailored blouses.  It would be smart for this design with shoulder yokes buttoned over inverted pleats, trim turn-down collar and "pressed flat" jabot.

Butterick Fashion News, October 1932

Make Your Suit a Convertible— with Blouses.

4569.  Here is an important surplice blouse with its back and sleeves cut in one.  Gusset at underarm.

4611.  Puffed sleeves which are gathered into a deep cuff and the new soft neckline are smart details here.

The blouses depicted in early 1930s women's magazines were usually soft and fluid in appearance.  Satin, georgette and crepe de chine were frequently mentioned as materials—as was the cheaper "art silk" (rayon).  Colours were usually white, off-white or very pale and decoration was often in the form of diagonal or decorative seaming.  V-necks, surplice bodices and cowl-necklines were popular, often set off with a very soft bow.

Vogue, February 15 1933

 Dark bright colors rise to the top.

....Schiaparelli's ribbed silk blouse... Bonwit Teller.

Schiaparelli's suit has an empire blouse of silk peau d'ange jersey; Altman. 

...Ribbed wool blouse with a semi-turtle neck... The blouse, Schiaparelli's "476", from Hattie Carnegie.

1933 saw a shift away from these styles when Schiaparelli (in Paris) and Adrian (in Hollywood) introduced padded shoulders.  Suddenly a bolder, crisper look was in vogue.  With broad shoulders fashion went to the neck, with wide collars, jabots, frills and bows framing the face.  (This look probably owed a lot to Hollywood, where collars were used to frame the face in close-up.)  As a rule blouses were more decorative depending on the time of day and occasion they were worn.

Very few of the new blouses are frilly and fluffy; although made in such materials as fine linen, organza and taffeta, they are generally strictly tailored.  Plaids, checks, stripes and spots are printed on all materials and used for blouses.  The designers give you plaid blouses with dark suits and dark blouses with light ones.

Australian Women's Weekly, 22 July 1933

Australian Home Journal, October 1934

11,230.  Picture this becoming jumper in suit effect with the two blues that are so much now in evidence.  It has a Magyar top with the front cut separately; this provides the turn-back trimming of contrast matching the sleeves.  Large buttons are a prominent feature.

11,237.  Portraying one of the newest blouses in spotted crepe-de-Chine.  The raglan sleeves in three-quarter length are cut in one with the tie.  Front forms a V neck; over this the tie is fastened. Sleeves are gathered into narrow cuff bands edged with pleated frilling.

11,234.  An afternoon blouse, made dressy with the pleated frilling—omit the trimming and it is converted into a blouse for sport.  It slips over the head and fastens from the neck; here it is furnished with a roll collar.  Sleeves are slightly eased into narrow cuff bands.

BLOUSES! 

A Note from Margo Hill-Manners

The summer suits have given a great fillip to the blouse vogue.  Every suit has a bevy of blouses and they are of varying styles— soft and frilly, dressy, or of the sports girl type.

Truly one cannot have too many, and this is a wonderful way of using up those short remnant lengths which are irresistible to the bargain hunter.

The Australian Woman's Mirror, November 26 1935

National Bellas Hess sale catalog, 1936

ACETATE CREPE.  A value worth special consideration!  Lovely blouse with gathered sleeves, shoulder shirring, and self belt.  The flower is included!  Rich looking pebbly acetate crepe.

TAILORED SUIT BLOUSE.  Sheer, tailored, washable.  Pure dye Sheer Silk Georgette Crepe [or] washable French finish Cotton Voile.

EMBROIDERED NET—NEWEST!  All you could desire in a blouse!  Exquisite cream-colored embroidered net—our very finest quality.  Ruffled collar, jabot and cuffs edged in fine 'Val' matching lace.  "Boutonierre" of violets at the neck.

CELANESE RIPPLE CREPE.  A blouse you shouldn't miss!  The high collar and jabot edged in matching color Val pattern lace makes it perfect for tailored suits!  A nice weight pebbly surface Celanese Ripple Crepe.  Washable.

Blouses started to be made of heavier and more boldly coloured fabrics mid-decade too.  While satin and and the various crepes were still worn, velveteen and taffeta became popular.   Black, navy, emerald green and canary yellow are mentioned in women's magazines as being suitable colours for blouses.  Patterned fabrics become more common too—with polka dots becoming a favourite.

Butterick Fashion News, July 1936

BLOUSES TO BOLSTER CHIC

6849.  With your tailored suit wear a crisp linen blouse with tucked front, a bow-tied neckline, and short sleeves with turn-back cuffs.

6888 is another smart suit blouse.  The short sleeves with shirred shoulders are new this season.

6851.  Embroidered organdy is smartest for this very feminine blouse with brief, puffed sleeves, and soft gathering below the yoke.  The neckline may be unbuttoned and worn open.

McCall Style News, August 1936

402.  Good news!  A gorgeous peasant blouse—yours to make—in a smart new design.  Alive with bright colors in the cross-stich flowers and deep smocked top.

401.  Cross-stitch makes a handsome decoration on these full sleeves, whether they are short or long.  Such combinations as black on green, red on white, brown on tan are very stunning.

There was a trend in the mid- to late 1930s for decorating garments (not just blouses) with "peasant" embroidery, inspired by the folk traditions of Central and Eastern Europe.

Petit Echo de la Mode, Mai 22 1938

 Z 3592. BLOUSE en flanelle ou en mousseline de laine rayée, ave empiѐcement pris à contressens.  Col rabattu et petite patte boutonnée.  Les manches montées à fronces sont resserrées du bas dans un poignet.

Modes & Travaux, Juillet 1939

6. Blouse en organdi de soie garnie de groupe de plis et d'un jabot bordé de dentelle.

7.  Ce modéle d'un ton bleu, monté par un empiecment, est garni d'un entre-deaux incrusté que le jabot.

8.  Modéle exécuté en organdi noir; le plastron est fait de bouillonnés et d'entre-deux.

9.  L'empiécement de cette blouse est rayé d'entre-deux ainsi que le nœud qui termine d'encolure.

10.  Blouse en organdi garnie d'un jabot fait avec l'entre-deux froncé de chaque coté du pli boutonné.

11.  Plus classique de modéle est garni d'un entre-deux incrusté au milieu de larges plis qui garnissment le devant.

AFTER 20 YEARS FRILLY BLOUSES COME BACK BIG

The spring of 1939 may well go down in fashion history as the season of the frilly lingerie blouse.  At the first blouse fashion show in the history of the industry, held two weeks ago at the Waldorf-Astoria, a hundred French and American shirtwaists were exhibited... Prominent were blouses with jabots and frills every which way.

Life, 23 January 1939

As war loomed in 1939 fashion designers tried to take women back to the past, showing nostalgic collections full of garments with nipped in waists and longer skirts—and frilly, puff-sleeved blouses.   History, however, got in the way, and fashion wasn't to develop along these lines for nearly a decade!