Amy T Peterson, Valerie Hewitt, Heather Vaughan, et al
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used, they were generally small and scattered to complement the asym-
metrical design, bias cuts, and pieced garments.
Coco Chanel’s little black dress of 1926 promoted black as elegant for
eveningwear and was usually made of velvet, silk, or satin, with diamante
trim. Although initially introduced earlier in the decade, rayon became an
acceptable fabric for eveningwear by 1926 (Mendes and De La Haye 1999).
BUSINESS WEAR
Silhouette
In the 1920s, ‘ businesswomen’ were advised to pay careful attention to
the difference between social and working dress. According to Vogue, ‘ We
must stoutly protest that the sport, garden party or reception dress is out
of place in the shop or office. Short sleeves do not look well for such
wear, ever. Elbow-length is permissible, but the really short sleeve is bad
form and the sleeveless street gown is unspeakably vulgar’ (Watson 2004,
44). Muted colors and simple fabrics were also advised. Generally, busi-
ness wear walked a line between formal social attire and at-home ‘ work’’
wear, combining simplicity and functionality with chicness.
Dresses
Where dresses were appropriate, they resembled women’s morning or
housedresses. In the early 1920s, these work dresses had waist yokes and
raglan sleeves. Overskirts created an apron effect, and pockets were a must
for practicality. Similarly, three-quarter-length sleeves were useful. These
dresses were made of serge, tricotine, and gabardine. Although satin was
sometimes used, trimming was kept to a minimum so as not to appear
‘‘fussy’ (Washington Post 1920).
Suits
The 1920s saw the rise in popularity of the suit, consisting of a dress and
matching jacket, or of the more familiar three-piece variety, with a skirt,
blouse, and jacket. Throughout the decade, the skirts of the ensembles
were slender and had knife or inverted pleats.
During the first few years of the 1920s, wool suits were the most popular
and consisted of a calf-length tunic-like dress or skirt worn with a thigh-
length unfitted jacket. Decoration on these early suits usually included Chel-
sea and notched collars and a number of belts, crisscrossing over the jacket.
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WOMEN’S FASHIONS
Between 1923 and 1924, hem lengths dropped all the way to the
ankles, and hip-length boxy suit jackets followed the general trend toward
a lowered waistline. Also during this time, Coco Chanel introduced her
most well-known suit. It consisted of a collarless, square-cut jacket
trimmed in contrasting braid, paired with a matching straight skirt. The
quilted silk lining of the jacket was meant to match the blouse. Chanel’s
signature suit also contained a chain inside the hem of the jacket to
weight it.
From 1925 until the end of the decade, both single- and double-
breasted square suit jackets were the norm, although jackets that met at
the center front, held together by a toggle, were also popular. Jackets were
paired with straight-cut, knee-length skirts.
In general, cardigan suits of knitted jersey were a staple in women’s
closets. Typically, suits of the 1920s were made in subdued colors such as
navy, tan, brown, and black. White pinstripes were frequently seen as well.
Trimming was minimal, although in the latter half of the decade, fur
pieces sometimes adorned shoulders for added glitz.
CASUAL WEAR
Silhouette
During the 1920s, in part because of a renewed interest in sports and
increasing wealth, the upper class became interested in fashionable casual
daytime wear. Casual wear generally followed the youthful trend for the
flat-chested garc¸onne look. Straight cuts with little shaping and a dropped
waist gave the effect of slenderness. Chemise dresses that hung from the
shoulder were popular, although in the middle part of the decade, fash-
ions became more slender and streamlined. Beginning in 1927, bias cuts
were introduced, and the technique would continue to be favored into the
1930s. Art deco also had its influence on fashion of this period and fre-
quently manifested in geometrical decoration.
Dresses
At the end of the previous decade, the waistline was just under the bust,
but it quickly dropped. From 1922 through the remainder of the decade,
it remained at the hips. The bodice of the twenties was loose fitting and
had minimal if any darting. Necklines were square, boat, or V neck. Bell
and cap sleeves were light and airy. Bias-cut cape collars and cape sleeves
remained popular into the 1930s.
Hemlines for daywear in the early part of the decade were frequent.
From 1920 to 1922, hemlines were just below the calf, then at the ankle
1920s, The Jazz Age
201
until 1924, and by 1925, they had risen to the knee. Although hemlines
remained here for the rest of the decade, intrigue was created through
irregular hemlines such as handkerchief hems, asymmetrical draping, and
diamond-shaped pieces. Rows of flounces and gathered layers were also
fashionable. Beginning in 1929, however, hemlines dropped dramatically.
Separates
In general, separates were not yet a popular form of daywear, and women
generally wore ensembles purchased together. However, trousers became a
focal point during this period. Initially introduced as fashionable women’s
wear in 1922 by Paul Poiret as pajamas, they eventually evolved into cas-
ual wear worn for specific occasions, such as sleeping, lounging, and at
the beach. Lounging pajamas, according to Vogue, were for ‘ when infor-
mal entertainments and masquerades are the order of the day’ (Watson
2004, 42). Chanel helped with the general acceptance of women’s trousers
and was often seen wearing sailor-style pants. Pants of this era were loose
with an elastic or drawstring waist with a side closure.
Decorative Details
Popular colors of the decade included coordinating tones such as ‘ sunset
orange,’’ ‘‘Nile green,’ ‘ maize,’’ and various shades of blue (French, Copen-
hagen, or gracklehead) (Laubner 1996). Prints were also popular. Thanks
to Chanel and her little black dress of 1926, black dresses in cr^epe, wool,
and other matte fabrics were popular for daywear. Worn during household
chores, cotton housedresses were made of broadcloth, Indian head cloth,
and gingham. After 1926, rayon began to be used for daywear as well.
Embroidery was a popular form of ornamentation during the decade
and was frequently executed in silk, with tiny beads and in natural motifs.
In the early twenties, braid trim or ribbons were frequently used in floral
and scroll work. After 1925, art deco motifs became popular decorations.
Flowers made of silk or velvet were also often placed at the shoulder or
hip. A more cost-effective decoration was accomplished by focusing on
seaming itself as decoration. Additionally, fringe was often added to dance
dresses to emphasize movement. Other hemline trimming including picot
edging used at the edge of sheer dresses.
OUTERWEAR
Coats
Coats of the early 1920s showed remnants of the previous decade’s silhouette.
They were high waisted, often gathered under the bust with a self-fabric, criss-
crossed belt. Hemlines ended below the calf, and skirts slightly flared to create
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WOMEN’S FASHIONS
an overall wedge shape. Sleeves were set in and
had deep cuffs. Convertible collars added inter-
est and were broad or cape-like when opened
and when closed were choker or high standing,
acting to further insulate against the cold.
As the decade progressed, the silhouette of
women’s coats progressed, too. When the
hemline dropped, belts disappeared from coats
altogether.
Unbelted,
straight-cut
surplice
coats became popular beginning in 1923.
These slender and tubular coats combined col-
lar and lapel, and the back portion of the col-
lar was normally worn up. The right side of
the coat typically overlapped over the left and
was fasted at the side with a single button.
Coats often featured batwing and bell sleeves.
At mid-decade, a shorter coat became
popular. Double-breasted, knee-length coats
had godets at the hem, causing a slight flare.
Notched and shawl collars were equally popu-
lar. Surplice coats continued to be popular
throughout the decade, with variation in fab-
Misses Edith and Irene Mayer, wearing fur and fur-
rics and trim adding interest.
trimmed coats. [Library of Congress]
Cloth coats were made of wool, velveteen
plush, and velour in colors including black, gray, brown, tan, rust, and
cranberry. Toward the end of the decade, art deco patterned fabrics were
common, as was art deco-style trim. Collars and cuffs were also frequently
trimmed with ‘ oriental buttons,’’ tassels, and especially fur.
Also in the 1920s, fur coats moved from the luxury class into the gen-
eral wardrobe. Sears catalogs even carried short fur coats. Fur pieces were
frequently worn over cloth coats as a symbol of wealth and status. The
most popular furs for coats were ermine, sable, and chinchilla, and mixing
fur types was common (Municchi 1996).
Shawls/Wraps
During the 1920s, wide-sleeved evening wraps and capes of luxurious fab-
rics were worn over eveningwear. Kimono, dolman, and batwing sleeves
were popular with designers such as Poiret and Doucet. In addition to
collars similar to those seen in daywear coats, high funnel collars were
stylish. Silk, velvet, satin, and metallic brocaded garments were trimmed
with metallic braid, embroidery, tassels, and fur.
1920s, The Jazz Age
203
King Tut Sparks Fashion Inspiration.
such as scarabs, lotus blossoms, and
When Howard Carter discovered King
sphinxes, were incorporated into gar-
Tutankhamun’s tomb in November of
ments. For example, in a design contest
1922, he had no idea about the fashion
held by the United Cloak and Suit
craze that his discovery would inspire.
Designers’ Association of America, the
Within weeks, fashion designers had
garment that won the top prize in 1923
incorporated Egyptian motifs into their
was a wrap that included an Egyptian
designs, and women started snapping up
hathor, or sacred cow, created from beads,
Egyptian-themed
dresses, coats, and
a scarab design, and colors inspired by
accessories. Stylized Egyptian motifs,
those found in Tutankhamun’s tomb.
Lighter outerwear, including the highly popular Spanish and Russian
embroidered shawls, were fashionable for summer. These shawls were
embroidered with floral and folk designs and trimmed with fringe. Frequently,
they were worn over robe-de-style gowns. Shawls were imported from Lyons,
India, China, and Russia throughout the 1920s and into the 1930s (Mendes
and De La Haye 1999). Alternatively, Assuit stoles of exotic linen were
imported from Egypt. Made in the town of Assuit, they were rectangular
linen net decorated with metallic pieces in geometric art deco patterns.
Other garments
Other evening outerwear included ostrich-feather boas with long silk tas-
sels in dark colors. Worn between 1920 and 1925, they had been trendy
garments during the teens.
SWIMWEAR/SPORTWEAR
Swimwear
By 1920, sunbathing was the height of fashion, necessitating an extensive
beach wardrobe requiring careful planning. The style of swimwear now
exposed a considerable amount of skin to the sun and public view com-
pared with previous decades. Swimwear followed the silhouette of the
decade, with belts worn at the dropped waist. Knitted two-piece tubular
suits were popular at the beginning of the decade, consisting of long
tunics over straight-legged shorts, emphasizing the hipline. One-piece
suits grew in popularity as the 1920s progressed. More skin was exposed
as sleeves were eliminated and trunks shortened to mid-thigh. Some suits
had short overskirts, but those were generally abandoned by mid-decade.
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WOMEN’S FASHIONS
At the beginning of the 1920s, there was concern about swimwear being too short
and skimpy. Here, a bathing suit ‘ policeman,’’ measures the distance between knee
and bathing suit, Washington, DC. 1922. [Library of Congress]
Suits were made of knitted fabrics in an array of cubist-inspired geo-
metric patterns and stripes. For two-piece suits, tops and shorts matched
or contrasted (often with a printed top and solid trunks). Beach ensembles
were of contrasting bright tones, such as orange with green or bright red
with yellow or, alternatively, white with dark trim.
With the loss of material covering the body, the need for cover-ups
arose. These initially included matching capes, shawls, and coats that were
highly tailored. In 1927, wide-legged beach-pajamas were introduced and
first appeared in bright oriental prints that matched or complemented
swimsuits. Wide-brimmed beach hats were also popular, as were tight-
fitting swimming caps. Shoes worn on the beach were flat and generally
made of rubber or canvas.
Tennis
In the 1920s, tennis moved from a participant to a spectator sport. Conse-
quently, tennis fashions were significantly influenced by star competitors
such as Suzanne Lenglen and Helen Wills. One- and two-piece garments
1920s, The Jazz Age
205
were worn by both throughout the decade. From 1921 on, Lenglen wore
white tennis ensembles designed by popular sportswear designer Jean
Patou. This usually consisted of a wide bandeau worn wrapped around
her head with a below-the-knee pleated shift dress that showed the top of
her rolled stockings. She occasionally wore a sleeveless monogrammed
cardigan. Beginning in 1927, Hellen Wills consistently wore a visor or
‘ eye-shade’’ with a white skirt and shirt also by Patou.
Although both wore head coverings, by the end
of the decade, it was
acceptable to play tennis bare headed. Patou further paired down tennis
fashion by designing sleeveless tennis dresses with raised hemlines. Some-
times tennis suits had a matching cape, often made of flannel for warmth.
Although white was traditional for tennis, other light or pale colors
were used as well. Initially, sportswear designers experimented with wool
and jersey for tennis but eventually settled on more practical washable
silks and cr^epe de Chine.
Skiwear
Skiing outfits for women consisted of a sweater and/or tunic with
breeches or jodhpur-like trousers, usually in a waterproof material. Tweed,
plaid, and camel hair were initially popular, followed by gabardine. White
was considered inappropriate for mountain slopes. Blue and red were ini-
tially favored, followed by more subdued colors such as gray and beige.
Mittens were frequently made of waterproofed leather, calf-skin, and
horse hide. Hats and scarves with fur trim were essential for warmth.
Golf
Short skirts and knickerbocker golf suits with medium-length coats were
deemed appropriate for golf beginning in 1921. The coats were paired
with loose, full, knee-length pants that gathered at the hem. Decorative
pleats were frowned upon, and only inverted pleats at the side or front to
facilitate movement were acceptable. White was also forbidden for golf,
although jersey and tweeds were frequently used.
Other Activewear
Other popular sports during this time included ice skating, driving (or
motoring), flying, hunting, fishing, and horseback riding. Each had their
own uniform. A bifurcated skirt or culottes was acceptable for ice skating,
and generally one-piece garments were preferred. For motoring, practicality
required protective headgear and goggles along with a large military-style
overcoat. Similar outfits were designed for flying. For most of these fringe
sports, it was accepted that women would adopt masculine-style garments.
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WOMEN’S FASHIONS
UNDERWEAR AND INTIMATE APPAREL
Undergarments
The boyish silhouette of the 1920s required special undergarments.
Generally, a single piece of fabric, called a bandeau, was used to flatten
the bust. Corsets and girdles were still heavily boned. Corset substi-
tutes were made of softer elastic and referred to as ‘ step-ins’’ (Laubner