“Big Apple Plaid” 1924 Frock

New York might have seen this outfit as the smartest dressing in year 1924, but it sure wouldn’t fly on streets of today.  How things have changed almost 100 years later now!  Nevertheless, I’d like to be up-to-date for 1924 and flaunt about in a more historical style for a change of pace!

For most of the 1920s, the decade did not look like the stereotypical “flapper” that everyone reverts to.  Realistically, they were quite conservative in their long length and loose fit, and almost dowdy to our modern eyes.  To recreate them in a way that makes them appear better than a costume takes a bit of a different mindset (such as understanding the underwear which gave them their weird shape) and attention to the finishing details.  This project was more challenging in the way that I self-drafted all but the three main body panels – which were from a true 20’s design – so I could copy an image from a year 1924 “National Suit and Cloak Co.” catalog which had caught my creative eye.  Having the perfect fabric and trimming on hand certainly helped convince me to make something wearable of the idea.  

THE FACTS:

FABRIC:  100% cotton

PATTERN:  Butterick #1101, from October 1926 (I know the precise month/year only because of the comprehensive Butterick pattern dating charts provided here by “Witness2Fashion”. This pattern is from when Butterick started a new design style and numbering system so that is easy to track!)

NOTIONS:  Lots of thread, interfacing remnants, embroidery thread, and extra trimming (soutache and satin grosgrain ribbon) from my stash.  The creamy yellow ball buttons down the front are vintage from my grandmother’s stash of notions.

TIME TO COMPLETE:  This was finished on April 17, 2020 after about 10 hours put into the dress.

TOTAL COST:  This project is as good as free – the fabric had been in my stash for over a decade before becoming this dress, and the trims were something I got for a dollar each years back…who’s counting after all that time?!?

I will bet that the actual inspiration dress was made just a bit differently, but I did the best I could interpreting a small image into an actual garment using what knowledge I have of the era.  My dress is a comfy cotton which makes it a great dress for a low-budget historical dress, yet I have an inkling the original “fancy checked suiting” might have been a wool or slubbed rayon.  The trim I used is modern but exactly the same as something straight out of the 1920s – soutache and satin grosgrain.  The way I layered them together they create a low-key but very complex detail that garments of the era were so good at inventing.  It can be one thing to like a dress you see in a catalog, but then ending up liking it on yourself can be a whole different thing altogether.  Luckily, I think I personalized my interpretation of the chosen inspiration image just enough for me to enjoy wearing this, no matter how odd of a style this era’s true fashion can be!

The body of the dress fit right out of my vintage pattern.  Now granted when I say “fit”, I mean that in a 1920s way of being very loose, unfitted, and with straight lines.  Since I am an hourglass body type and my hips are ever so slightly my widest body feature, making a 1920’s fashion means I need the entire dress to be a tube which is as wide as my hips plus a generous wearing ease of about 4 or 5 inches.  Yeah, that sounds very unappealing, doesn’t it?!  This is why sizing charts on patterns of this era are not dependable (going by age?) and not easily understood.  Even though the bust was too big for me, I needed it for the hips because you don’t curve in the side seams to find a modern fit for true 1920s dress.  It’s not intuitive to make clothes fitting like this for someone living today.  The only thing I did change up was to cut out the sleeves on the bias grain to accommodate my larger upper arms needing more room for mobility.

I traced a paper copy of the pattern to work with even though the tissue was in fantastic shape and still pliable.  This true vintage pattern copy will be a great starting point for any other early or mid-1920s dresses I have a mind to make!  Ah, the version on the cover with the scalloped, two-tiered skirt portion is calling to me.  Only, I know I would definitely add beading and embroidery along the hems if I did sew up that cover dress…and there is enough going on in my life for quite a while now for me to add in something which would be so time consuming.

Making this little 1920s cotton dress was relatively quick and simple.  It was figuring out the details which took all the thought and bother!  As I have said for most of my historical projects (by which I mean 1920s and earlier), they look like nothing but awful, ugly failures up until adding one little detail which suddenly brings everything you’ve worked on together.  For my 1917 dress, it was adding both the lace on the front piece and rosette ribbon on the sheer hems which made it appear like an actual dress and not just a concoction of fabric.  For my 1912 walking suit, it was the hat that added that extra oomph I was lacking.

Here with this project, it was at first the arrow points I embroidered at each end of the faux pockets at the hipline that made this idea work, but that wasn’t enough – then the collection of ten front placket buttons made the whole project come together.  Ah, the power of the ‘little things’ is never to be underestimated.

Figuring out what trims and notions to add was more difficult than drafting all the add-ons to that basic 20’s sack which was to be my dress.  At least with drafting patterns, it is all math and technical measurements!  Making up one’s mind about finishing details can be the hard – but fun, too!  Using the main body of the dress as my base line, and my little inspiration image for reference, I self-drafted the giant ‘pilgrim’ collar, the front placket pieces, and sleeve cuffs (which I didn’t end up using).  For the front bias flounce coming out of the placket, I used a Simplicity #Simplicity 4593, year 2005 skirt pattern for reference (such as figuring what grainline to choose) and then proceeded to draft my own according to the size I needed.

It was tricky to discern proportions.  On a 20’s dress that is over the body much like a sack, how do you properly visualize where the natural waistline and hips actually are?!  I had to make my front placket fall lower than the 1924 fashion image might show because it was hard to get the dress on otherwise (as my front placket was a workable closure, not just for show).  Once I figured that out, then I could measure the flounce piece to match, and estimate how to strategically make the most of my just under 3 yards of trim.  I ended up with only a few inches of soutache/ribbon leftover and nothing but small scraps left for the dress’ cotton, which is incredible after starting out with over 3 yards (45” width)!  Whew, I just made this idea work.

I kept the dress’ insides and construction simple – raw seam edges, bias tape in lieu of “proper” neckline facing, and all machine stitched seams.  Because the dress’ fabric was so see through, I skipped out on doing true welt pockets and did the easy ‘fake’ version.  The front placket has just five large hook-n-eyes (also true vintage) underneath because this dress hails from a time when it was still considered improper to have the means of closing one’s dress in plain sight.

You bet I’m wearing my 1920s combination underwear (posted here) underneath!  Believe me, modern underwear only brings attention to the fact that this style of dress is baggy and unfitted, besides the fact it doesn’t give the full historical effect.  Honestly, the early 20’s are super comfy to wear and not confining in the least, like a good nightgown.  If it wasn’t for all the other accessories, I would be ready for bedtime, ha!

I’ll admit, this project has been languishing as an unfinished project for two years before now.  The fact I am staying at home more is for some reason helping me have the fire to finish projects started, cut, and ready-to-sew.  It is so hard to have the gumption to sew something that will not see possible everyday wearing like much of my post-1930’s vintage garments.  Yet, my great impetus for finishing this project finally was recently happening to find the perfect hat to match.

All of my accessories here are vintage – and the hat is the cherry on the top!  It is a true-to-the-era original from around the same period as my dress.  It has a crown of silk velvet, with velvet ribbons around the brim, and was handmade by a talented home milliner by all that I can tell.  Sure there are a few chews to the velvet, but the wool base is untouched and the silk lining is not shattering.  To think this is in such good condition for being a century old blows my mind, and I am tickled to be wearing it with such a complementing outfit.

My shoes are true to the early 20’s with their pointed toe and French heel, yet they are of 1980s era.  The 80’s had a resurgence of many old styles, and besides 100 years ago, from my knowledge they are the only decade that came back with a strong, hourglass-style curving French heel (quite hard to come by otherwise).  Generally, 1980s shoes are unwanted today and can be found in plenty at my local thrift stores – happily they are also great for providing great 20’s style footwear that is in much better condition than their original counterparts.  Mine are a lovely suede leather and bring out the burgundy colors in my set!

Even the building backdrop to my pictures was built in 1924! How cool is that?

I do believe this to be a nice “street dress”, meaning something that would be worn out of the home to do things like shopping downtown or business-related duties.  It is too nice for a housedress, but the fact that my version is of cotton brings it down a level from, say, a ‘Sunday best’ kind of wear.  Sure, all those glitzy evening gowns or luxurious party dresses are so easy to gravitate to, but personally I appreciate the clothing that was more for everyday living.  It is more of a teaching opportunity/learning experience then.  I learn from the research and actual sewing which goes into my making such an outfit.  In exchange, I find that I can wear such an outfit to living history events or for historical presentations and my clothing only helps others both learn from me as well as feel welcome to ask questions.  It’s a win-win!