Plaid Waistcoat (British Vogue, November 1945)

 In the austere 1940s even Vogue was not above suggesting a bit of creative making do and mending.  Here, from the tail end of the war years, is a pattern for making a warm waistcoat from "the unworn parts of a plaid rug, an old tweed suit or coat, or ¾ yd. of 36 in. fabric".

Materials—¾ yd. of 36" material, one buckle.  For bigger measurements, enlarge pattern on dotted line.  Cut front twice, taking care to cut once for left front, and once for right, and back once, from diagram allowing ½" all round for turnings.  Be careful to match pattern.  Make darts in front pieces.  Join shoulder seams and 2" of side seams up from lower edge.  Turn under ½" round neckline and armhole and hem.  Mitre one end and attach buckle to the other.  Join upper edges of belt to waistcoat, easing back into belt to required size.  Press all seams well.

Concerning Coats II (1920s)

The 1920s begin where the 1910s left off: with coats being worn loose and enveloping, with belts, large pockets and lots of trimmings.

Perry-Dame, Fall and Winter 1920

6C2350—There are few fabrics that are better fitted for a general utility coat than WOOL-MIXED VELOUR—the material used for making this smart top coat.  This coating is warm, moderately priced and durable.  The coat is made with a handsome collar of soft, silky, Kit Coney fur.  The back, below the all round belt, displays two deep side plaits trimmed with buttons.  Buttons also trim the novel shaped pockets as well as the cuff effects.

6CC3675—SILK SEAL PLUSH in all its loveliness fashions itself with grace and simplicity into this luxuriously warm winter Coat.  This fabric is manufactured by the world-famous Salt's Company, which guarantees matchless beauty and lasting service in a Silk Plush.  The coat is designed with a convertible collar and button-trimmed cuffs of self-material.  There are two slot pockets.  The belt can be worn half inside or all around outside as desired.

6C1865—That a coat does not always need to be expensive in order to be smart in style and durable is demonstrated by the practical model above.  It is made of one of the most practical and satisfactory coatings—ALL-WOOL VELOUR.  The coat is designed on smart new lines and made with a large, stitched, convertible collar.  The back has rows of pin-cording and button-trimming, as pictured.  The cuff-effects and large patch pockets are also button-trimmed.  A belt defines the waistline and fastens in front to the pockets.

Large, cape-like collars seem to have been in vogue in 1920, and still in evidence in 1921.

National Cloak & Suit Co., Spring-Summer 1921

The separate coat favors loose, straight lines with a preference for raglan or kimona sleeves.  Belts are used on the blouse backed models, but models fitted at the waistline show darts and no belt.

"Paragraphs from Paris", Dry Goods Review (Canada), January 1921

Montgomery Ward, Fall-Winter 1922

The prophecy that this winter would see more cloth coats than formerly has come true, judging from the variety and quality now ready. Many women want something a little different from the Hudson seal and cannot afford more expensive furs. They will welcome, without doubt, the cloth ones.

"In Step With New York and Paris", Dry Goods Review (Canada), June 1922

Miroir des Modes, December 1923

This coat was also depicted in the December 1923 issue of The Delineator, where it is described:

For wear about town, the motor or hacking this top-coat with its straight lines and becoming collar is very smart.  Plaid coatings are used a great deal this season, although one may use Teddy bear, camel's-hair, tweeds, basket-weaves, fleeces, mixtures or soft pile fabrics ... for this coat.

The Delineator, December 1923

This coat follows the fashionable silhouette for 1923, with straight lines and a dropped waist (indicated by a single fastening on the wearer's left hip).

Le Petit Echo de la Mode, Dec. 7, 1924

E 123103.  MANTEAU en serge mouflonne, forme nouvelle à manches montées, avec col et parements de renard.
[E 123103.  COAT in mouflon serge, new shape with mounted sleeves, with fox collar and facings.]

E 123104.  MANTEAU en velours de laine, orné de loutre au col droit, aux poignets larges et au bas du manteau.
[E 123104.  Wool velvet COAT, with otter decorating the straight collar, wide cuffs and bottom of the coat.]

The lines for 1924 and 1925 are still straight and unbelted, with one (or at most, two) fastenings around hip level.

Charles Williams Stores, Fall and Winter 1925

With many weeks of cold, bleak weather ahead, we shall be wearing warm coats and costumes, and the girl who does most of her own dressmaking will be sure of having plenty of opportunities for wearing it, if she makes one of the smart wrap-over, straight-up and down, velour or tweed coats, trimmed at neck, cuffs and hem with a band of fur or the popular teazle wool trimming...

To be quite smart and up-to-date, this coat must be as short as the dress worn underneath, which of course is about twelve inches off the ground, and must show only one button as a fastening.

"Modes of the Moment", Everylady's Journal, July 1925

Weldon's Ladies' Journal, March 1926

74431—A smartly cut Coat for fawn marocain, with roll collar and cuffs of leaf brown.

74428—Face cloth makes this stylish Coat, with flared godets and stand-up collar, trimmed with vermicelli braid.

74429—A new season's Coat and Skirt for reps, with flared godets and rolled collar.  

74430—Made on the newest lines is this Coat for black marocain, trimmed with soutache. 

Stylish coats in 1926 feature flared skirts.

Weldon's Ladies' Journal, August 1927

Any hint of a flare has gone by 1927.  These coats are straight and short, with hems just skimming the knee.  Hemlines would remain at knee-length for the rest of the decade.

77398.  This Coat of hopsack with collar and cuffs of calfskin is made on straight lines.  The belt is cut in one piece with the patch pockets.

77399.  For charmelaine, fancy silk or suiting is this Coat.  The welted pockets are on the sland and the stand-up collar is topped with fur.

77400.  A useful holiday Coat made of light-weight tweed, trimmed with buttons and has pockets at the top of the wide box pleats at each side.

Pictorial Review, November 1928

While some of the leading couturiers occasionally display coats with circular capes and lines flaring slightly from the waist, it is evident that the slim, simple type is most favored for general wear.  

Pictorial Review, November 1929

The November issue of the Pictorial Review illustrates two early versions of the clutch coat—that is, a coat that is held closed by the wearer.  They gained status by being obviously impractical for any woman who needed her hands free.  One can imagine the wearers of these coats climbing into a limousine, but not onto a bus or tram!  Both these patterns were designed by Paris couturiers, whose clientele wouldn't have to worry about the practicalities of getting around or carrying their own shopping.

Coming Fashions, March 1929

And so we come to the end of the 1920s with a carefully matched ensemble:

Frequently the top coat that is slightly princess in effect has a matching skirt or frock of a lighter weight fabric.  A cashmere frock will accompany a llama coat of the exact beige shade, there will not be a shade variation between the blues or the brick reds of the two weaves.  When we match our coats and frocks this season we do it very carefully.

"The Three-Quarter Coat and the Jacket", McCall's, August 1929

Ladies' Treasury (July 1877)

Let's vist the Victorians again.  On the left we have a "HOME COSTUME of ash-grey cambric or cashmere" and on the right is a "PROMENADE TOILETTE OR HOME TOILETTE" in ancient turquoise blue valencia or cambric.  The Ladies Treasury expands:

This colour is neither blue nor green, but the precise colour of old turquoise injured by damp.  The petticoat is not very long ; and one may mention here that the ladies of highest rank wear untrained dresses when walking.

To modern eyes, "not very long" looks very long indeed!  The Ladies' Treasury continues with a description of the latest fashions, not to mention fads and fancies.  Here are a choice selection:

COLOURED CAMBRICS of almost every hue, pink excepted, and cambrics with patterns on them, also foulards are universal... These are worn principally in the morning; but where etiquette or necessity does not prescribe a more elaborate toilette, they are worn all the day till the evening.

 (I wonder why pink was so definitely out of fashion in 1877?)

POLONAISES AND TUNICS—The square form of the latter is generally adopted for tunics, as it falls upon the petticoat, and is not generally looped, but cut up at the sides, as in the coloured plate of this number.  In polonaises, which are very long, there is a tendency to a great deal of trimming, as individual tastes have to be met; but only very thin figures can wear much trimming.

(An oblique hint to the magazine's readers not to overdo it?)

Ribbon bows or rather loops, are seen in all dresses.  These ribbons are literally "two-faced", the surfaces being of different colour.  They are thus exceedingly dressy-looking.  At one time these ribbons were coldly received in England, but now they reign.  Not only are bows and loops made of this kind, but also two or three colours in ribbons are used in one knot or næud of ribbon...

Australia's Lost Department Stores IV (Murdoch's, Spring-Summer 1942)

 Unusually—perhaps uniquely—Murdoch's began as a store selling menswear.  Opened in 1893 as "Murdoch's, Hatter and Mercer" on Park Street, Sydney, it catered exclusively to men and boys for the first thirty years of its life.  (They advertised a wonderful line of goods for "Our Boys in the Trenches!" during the First World War.)  Women began to edge into the picture in the 1920s by way of ladies' "Surfo" brand "bathing costumes".  By the end of the decade it was possible to buy women's accessories from Murdoch's, including gloves, handkerchiefs, handbags and perfume!

Murdoch's was no doubt aware that women did a lot of the purchasing for their menfolk when they placed this advertisement in 1939:

Ladies!  When you alight from the tram, train or 'bus at Park Street to meet a friend, make Murdoch's Rest Room, on the Second Floor, your rendezvous.

Murdoch's introduced a ladies' tailoring department in July 1939, but it seems to have only fully embraced selling women's clothes during World War II.  Perhaps with so many men off fighting, or "making-do" with the clothes they had at home, Murdoch needed to find new customers.

THE 3 SMART GIRLS on FRONT Cover

THE LASS IN PINK—wears a most attractive frock of Sundek linen ... a splendid garment for everyday, Summer wear.  Built on tailored lines, with smart V piece inlet into bodice.  Trimmed with covered buttons.

HER COMPANION looks smart in frock of Striped Wemco Sheer.  Popular shirtmaker style with pockets, contrast buttons and buckle.  Pleat in back of bodice to give extra freedom.

THE YOUNG LADY on the extreme right is smartly clad in a guaranteed "Betterknit" frock... an up-to-the-minute style that you won't be able to resist!  Beautifully cut in shirt style, with two-way neck.

R.A.A.F.—(As illustrated on front cover.) Craftsman's Blue Cheviot tunic and trousers.

Murdoch's was purchased by Waltons Department Store in 1951, which was in turn taken over by Sears Roebuck (yes, the American firm) in 1955. Walton-Sears continued trading at Murdoch's old address until it closed in 1987.

"But Yes, You Have Time..." (Elle, July 23, 1951)

 This one is for my readers who are enjoying a northern summer—a simple pattern for a terry towelling beach coverup.  The instructions are minimal, alas, and the translation my own (with help from the Dictionary and Google!)

Cut, Stitch, Love the Terry

Terry cloth is everywhere, in all bright and cheerful tones ... it washes easily, it does not wrinkle, it has, in short, all the virtues especially the essential: it is furiously fashionable.

The terry tunic.  Two rectangles assembled by the side and shoulder seams, short and straight sleeves, a horizontal neckline bordered by a lapel, two patch pockets, an elastic drawstring at the waist, English seams (so that the fabric does not crumple)...All this is as easy as pie and will make you an ideal bathrobe to wear over a bikini. 
(1 m. 60 by 90 cm)

Front

Back

Concerning Coats I (1910s)

 Winter has set in, and I need some kind of warm clothing to protect me from the icy winds.  This lead me to investigate how women in earlier eras have kept out the cold.  In various eras women have covered themselves with coats and capes, shawls, ponchos and assorted knitwear, but in the end I decided to look at the history of coats.  I'm starting from the 1910s, a decade of great change, and  I'm going to ignore fur coats, raincoats and jackets in my survey because there would be too many digressions along the way (and besides, they deserve a survey of their own!)

Anyway, let's get going.  1910, and fashions are still very Edwardian with few signs of the changes to come.

Australian Home Journal, June 1910

The correct thing in this season's coats is for the buttons to begin at the waistline or a trifle below it.  This gives long, gently curving lines that are becoming to everyone, and suggests a deep opening, though the chest is not left so exposed as one may suppose.  In many of the coats the opening is really double-breasted, the revers being great shawl-collars, and the right one runs to the waistline or a little below it which gives the long, sweeping line.  Even where the coat is single breasted this lapping is cleverly manipulated and only the usual V of the blouse is exposed and it is filled with a jabot or frill.

 The Australian Home Journal, June 1910

Weldon's Ladies' Journal, August 1911

The fashions of 1911 appear to have narrowed.

A slip on coat, for cool or damp days, is almost a necessity in our variable climate. Light-weight woollens, linen, tussore, or serge may be employed, the square collar and revers facings of satin, silk, etc.

Weldon's Ladies' Journal, August 1911

The new models will appeal to buyers because they are smart in effect and while following the new, straight lines, there are no freak features to make sales difficult.  The collar is a very important feature and sailor or pointed collars and large revers are freely used... Serges, tweeds, homespuns, satins, mohairs, Rajahs and linines are the leading coat fabrics.

"Preparing for Coat Season", Dry Goods Review (Canada), January 1911

National Cloat & Suit Co., Spring-Summer 1912

The double-breasted coats of 1910 seem to have disappeared altogether, as none appear in this catalogue.  Some coats, however, overlap, fastening just above the wearer's left hip.

 

In January The Delineator prophesised:

The longer coats that have been worn have been a pleasant change, but I doubt if they will hold for Spring... For all coats, the big collar and revers remain as popular as ever.  Even the conservative morning hacking suit feels their influence and shows it in a reasonable enlargement of the revers of its notched collar...

"The Silver Lining" by Clara E. Simcox, The Delineator, January 1912

Both longer coats and a reversible coat are shown on this page of the National Cloak and Suit Co.'s catalogue!   

Advertisement, 1913

LONG COATS.  Long coats are most graceful.  They are draped and gathered around the form in classical folds, and it is difficult to define by the mere method of words any accurate idea of their exquisite simplicity and gracefulness... Once you have experienced the convenience and comfort of the roomy long coat you will never want to be without one, for it is the garment, next to your tailored suit, which fills the greatest needs.  

Australian Home Journal, June 1913

 

Home Fashions, June 1914

THE ODD COAT, or the coat that is worn with skirt of a different colour and material, is having a vogue such as it has not known for many years.  The wonder is that it is not always as popular, for it supplies a long-felt want, and its uses are many.

These odd coats can roughly be divided into three different classes—the SPORTS' COAT proper, the WRAP COAT, and another which has evolved from the real sports' coat, and still calls itself by that name, but which partakes a little of the nature of the wrap.  This style is the most popular of all, because having the characteristics mentioned it can be worn on so many different occasions and also because it is made in bright and pretty colours to give relief to dull monotony.

POCKETS are made a feature of the sports' coat, just as though, having been without so long, we are doing our best to make up in number on one single garment.  There are BREAST POCKETS, POCKETS ON THE BROAD BELT, SLIP POCKETS concealed by the belt, and BIG PATCH POCKETS below the belt that ever-present feature of the coat.

Home Fashions, June 1914

La Mode, September 12 1915

 

 

The central figure is wearing "Manteau en drap froncé à la taille sous une ceinture formée de 3 pattes boutonnées" or, to put it in English, a "cloth coat gathered at the waist under a belt formed by 3 buttoned tabs".  By 1915 narrow coats were definitely "out", new, fuller coats were securely belted rather than negligently fastened on one side.  In keeping with the times, this woman's coat has a slightly military air.

 

 

W&H Walker, Bargains for Fall of 1916

The separate coat has followed very naturally in the wake of the popularity of the separate skirt.  The sweater and sports coat fad paved the way for its acceptance among smart women.  The one-piece serge dress will be worn later in the season with a long coat of wool velours, corduroy or broadcloth.  These coats usually hide the entire dress or else are so long that only a few inches of hem appear below them.  They ripple generously either from the shoulders or from a yoke below the waistline.  Big collars are characteristic of the new coats...

"Straight from the Shoulder", The Delineator, October 1916

W. & H. Walker offers inexpensive but fashionable coats in (clockwise from upper left) wool mixed coating with a large "beaver fur cloth collar", all-wool coating in the "new "Broadway Knockabout" style", baby lamb cloth with a shawl collar and velvet trimmed wool mixture with "convenient slot pockets".  The coats are not long by the standards of the beginning of the decade—but then again, neither are the skirts, which are now calf-length! 
 

Eaton's, Fall and Winter 1917

Wide coats are of course much worn, and the belt is an essential ornament.  There are all sorts of belts; some are strips of the same material as the coat, and go all round the waist.  Others are only put on the sides and seem to maintain the fullness of the coat.  The front and back are then flat.  Sometimes the front and back only are crossed by a kind of "martingale" and the sides are "vague".

There are still some pockets, huge ones mostly, which are put for trimming more than for practical use.  With these, of course, every fancy will be nice.

"Letter from our Paris correspondent", Dry Goods Review (Canada), February 1917

Sears, Fall and Winter 1918

Coats show a nice variation in straight loose lines.  There is no curve inward to indicate a waistline, though smart effects are produced in many cases by cutting the waist and skirt portions separately and joining them in novel lines.  There are some belts shown, but these do not draw the coat in.

"Variety the Key-Note in N.Y. Spring Fashions", Dry Goods Review (Canada), January 1918

As usual with the Canadian trade demand is swing strongly towards coats, and it seems as if fewer women are planning to purchase both coat and suit for the cool weather than ever before, due of course to the prices prevailing... As was predicted earlier in the year the highest priced coats and suits will dispose of a good deal of fur.  Huge collars and cuffs are the chief source of consumption.

"Suits and Coats", Dry Goods Review (Canada), September 1918

Skirts are now reaching mid-calf!

Perry, Dame, Fall and Winter 1919

Women have learned the satisfactory ways of separate coats and dresses so thoroughly that even the promised vogue of the tailored suit will not interfere with the popularity of coats and wraps for motoring , traveling and general wear.   Hacking coats will be made of tweeds, checks and mixtures.  For afternoon and general day use the smartest materials will be duvetyn, velours, fur cloth, plush, camel's-hair cloaking, broadcloth and cloaking satin.

"Autumn Fabrics and Fashions", The Delineator, September 1919

And here we are in 1919, looking very different than we did in 1910!

"Diese Herbst-mode macht einen neuen Typ aus Ihnen!" (Burda Moden, August 1968)

 (Or translated into English: "This Autumn, fashion makes you a new person!)

I had something more elaborate planned for my blog this week, but it's taking me longer to put together than I expected.  Meanwhile, here are some late sixties fashions from Burda Moden for your enjoyment.

"The cardigan style, which is already very popular, looks excitingly new and attractive in colorful Glen check."

"Wide sleeves make this shirt blouse so chic.  Over it is worn a smart waistcoat with a red patent leather belt and red handkerchief ."

"This is new in fall 1968 fashion: Waistcoats... glitter with a midi-skirt.  This combination is not reserved for daytime, but can be worn after six."

"We make an asymmetrically closed coat dress from Glorett Trevira with new wool.  A super wide patent belt emphasizes the waist."

"WOOL PRINTS for dresses with bell-like swinging skirts.  For the most feminine of dresses, there is no cut more ideal than a smooth fitted bodice, long slim sleeves, the tiniest waist and a swinging skirt that covers the knee."