Amy T Peterson, Valerie Hewitt, Heather Vaughan, et al
Page 33
1996). Specialty corsets were created for wear during sports, dancing,
and even pregnancy. Toward the end of the decade, as a natural shape
became more popular, brassieres with cups and mild shaping were
developed.
Loose-fitting bloomers or knickers were made of silk or rayon and
were gathered just above the knee. They came in a number of forms,
including one-piece camiknickers, teddies, step-ins, or just plain drawers
(which resembled slightly flared, bifurcated skirts). During the early years
of the 1920s, calf-length petticoats were worn, but, as hemlines rose, these
garments were rendered obsolete.
A young woman in camiknickers. [Library of Congress]
1920s, The Jazz Age
207
Sleepwear
Sleeping pajamas had an Eastern flare and were
typically sleeveless, V-neck tunics combined with
wide-leg pants. Coolie coats, or kimono-style
robes, were frequently worn over pajamas.
Simple, unfitted ankle-length nightgowns had
square or V-shaped necklines. Blanket-cloth
robes, surplice robes with Eastern and art deco
prints, were also common.
Other garments included combing sacques, a
luxury item worn when applying makeup or when
having hair styled, kimonos, hostess coats, and
boudoir caps and bandeux.
Other garments
Hose were of particular interest to fashionable
young ladies and were available in a variety of
patterns, colors, and materials. Ornamental jazz
garters were frequently worn by flappers to accen-
tuate their legs while dancing. Union suits or long
johns were practical one-piece undergarments
Fashionable Mlle. Rhea wears a cloche hat,
worn by both sexes for warmth rather than style.
Cuban heels, and a flask in her garter. [Library
of Congress]
HEADWEAR AND HAIRSTYLES
Headwear
Although the cloche hat was by far the most popular hat style of the
1920s, it was by no means the only style available. The toque, berets,
boaters, turbans, and drape-crowned hats also typified the mode. After
the release of the 1923 film The Three Musketeers, Musketeer-style hats
became popular. Because the basic shapes changed little over this decade,
variation was derived from the decorations. Flowers, lace, tulle, and net-
ting were all popular. The toque provided the perfect platform for three-
dimensional art-deco-style trim.
Hairstyles
Hat and hair shapes were closely linked, and both followed the stream-
lined shape of the youthful, androgynous bob. Brilliantine added sleekness
and shine to variations such as the shingle and the Eton crop. Women
208
WOMEN’S FASHIONS
Louise Brooks’ straight-haired bob, c. 1929. [Courtesy of Photofest]
also began looking to permanent waves to enhance their newly shortened
locks, and others added a single curl fixed to the face with setting lotion.
Film had its influence, too, and frequently women imitated the looks of
their favorite film stars. Claudette Colbert’s bangs and Louise Brooks’
bob had significant influence in hair salons.
Cosmetics
For the first time, the overt use of cosmetics became commonplace. The
new fashionable woman was, for the first time, frequently seen applying
lipstick in public, something that was shocking to the previous generation.
Clara Bow’s cupid-bow mouth, created by Hollywood make-up artist
Max Factor, caused a sensation. Innovations in technology allowed for
greater effect, including the invention of the first eyelash curler in 1923.
The eyebrow pencil also began its rise in popularity in the latter part of
the decade, when Greta Garbo’s makeup style began to influence the gen-
eral public.
1920s, The Jazz Age
209
Greta Garbo wears a page-boy bob, fashionable in the 1920s and into the 1930s.
Garbo was among the most-admired actresses for her style. [Courtesy of Photofest]
FOOTWEAR AND LEGWEAR
Footwear
The rise in hemlines during the 1920s resulted in a renewed interest in
shoe design. Beginning in 1922, tongues and Cuban heels became fash-
ionable for sports and walking shoes. By 1924, the dance craze necessi-
tated T-bars or crossover straps. In combination with this, pointed toes
were standard. After 1926, shoes became lighter and more delicate. Day
shoes were generally made of two-tone leather or reptile skin. Evening
shoes were high heeled, were brightly colored silks or gilded kid, and were
embellished with embroidered or brocaded fabrics. They also featured
highly decorative heels and buckles encrusted with semiprecious materials,
including pearls, diamante, and sequins.
Shoe styles were influenced by the Exhibition of Decorative Arts in
1925 in Paris and showed Greek, Asian, and Egyptian motifs. The most
coveted of the fantastical and exotic designers of the 1920s include French
shoemakers Andre Perugia and Hellstern and Sons. The extremely ornate
210
WOMEN’S FASHIONS
Miss Mary Jayne, with a bob haircut and T-bar shoes. [Library of Congress]
fashions of these and other designers were a direct reaction to the recent
lean and somber war years.
Legwear
The new hemline not only exposed the shoe as a focus of fashion but
afforded the same attention to women’s legs. In the previous era, women
had worn stockings in either black and white, but flappers of the 1920s
wore shocking new flesh-colored and sheer silk stockings. There were a
variety of fads associated with stockings, including wearing them rolled
down to the thighs. Plain-colored stockings in neutral shades were pre-
ferred for daywear and eveningwear. The most flamboyant stockings
included crossword-puzzle-patterned stockings, tartan, and checked
designs and were worn with sportswear.
OTHER ACCESSORIES
Jewelry
Iconic jewelry trends of the 1920s included long necklaces of pearls and
beads, as well as fake (or costume) jewelry. In general, jewelry styles were
1930s, The Great Depression
211
influenced by Ballet Russe versions of Asian styles, including carved jade,
ivory, and bone. Egyptian motifs and shapes, especially the scarab, fol-
lowed the opening of King Tut’s tomb in 1922. A decorative arts exhibi-
tion in Paris in 1925 introduced geometric art deco shapes and materials
such as Bakelite, marcasite, and pearls. The women of the 1920s were also
the first to wear wristwatches.
Handbags
Primarily used during daytime activities, hand-tooled brown and black
leather bags, as well as envelope-style Pouchettes, were popular. Daytime
cloth reticules, which was a pouch with drawstrings, were often hand-
made. Reticules were sometimes beaded as well and worn with evening-
wear. Metal mesh and beaded bags were typically used for special
occasions. Vanity bags were also popular for holding makeup.
Miscellaneous Accessories
The dropped waist focused attention on the hips and, consequentl
y, belts.
By mid-decade, a wide sash or gypsy girdle was used with daywear and
eveningwear and was accented with a metal or Bakelite clasp. Other pop-
ular accessories of this era included ostentatious feather fans, often made
of ostrich, and silk muslin umbrellas with applique. Despite prohibition,
drinking and smoking accessories continued to be popular and reflected
the interest in art deco and Bakelite.
1930S,
T H E G R E AT D E P R E S S I O N
The Great Depression effectively froze the silhouette for the decade,
because most women could not afford to update the wardrobe. The slug-
gish economy and unemployment of the Depression permeated social and
cultural life and lent its name to the decade.
FORMALWEAR
Silhouette
In direct reaction to the previous decade’s more masculine fashions, a fem-
inine mood took over in the 1930s. Softer, sculptural clothes now accen-
tuated the contours of the female form. By 1934, a romantic mood had
taken hold, and women began wearing mid- to late-nineteenth-century-
style gowns, complete with crinolines, bustles, and rustling fabrics.
212
WOMEN’S FASHIONS
Full-length, slightly flared evening gowns with natural waistlines were
standard.
Designers such as Coco Chanel and Madeline Vionnet continued to
be influential. In particular, Vionnet’s innovations in bias cut and her in-
terest in classical Greek dress left their mark on 1930s eveningwear. Film
costumes also inspired the silhouette. In 1932, Joan Crawford wore a full-
length white gown with large puffed sleeves designed by Gilbert Adrian
in Letty Lynton. Copies of the dress sold well. Ginger Rogers’ film cos-
tumes of the 1930s also impacted fashion’s appetite for glamorous
eveningwear.
Skirts
The full-length, voluminous skirts of this decade required more fabric to
make than in the previous decade, and designers used a variety of techni-
ques to create the nineteenth-century look. Cutting, padding, and light-
weight hoops or crinolines were used, and bustles or bows were placed at
the back for added effect. Skirts were also often decorated with threads of
cellophane to add sparkle and shine. Bias-cut dresses frequently had inset
fabric sections such as fan pleats or triangular insets to add movement to
the skirt.
Bodices
In contrast to the loose styles of the previous decade, the 1930s waistline
focused on a fitted bodice and the natural waist. Some gowns were even
corseted, whereas others bloused slightly. Belts were also more common
in eveningwear.
Neckline
Deep Vs in the front and back, cowels, and similarly draped necklines were
prevalent and attractively complimented the new curve-hugging silhouette.
Necklines also frequently featured a draping scarf or sash to be wrapped or
left trailing. Backless gowns and bare shoulders were also popular.
Sleeves
Variety was the name of the game for sleeve styles on evening gowns.
Cape sleeves were popular, as were gowns without sleeves. Backless gowns
frequently featured halter necks and were held up by thin or wide
shoulder straps. As the decade progressed, full-length tailored sleeves with
ruffled edges and slight shoulder padding became popular. Beginning in
1933, however, the exaggerated shoulder took hold and progressed into all
manner of variations.
1930s, The Great Depression
213
The Marriage of the Duke of Windsor
complement the bride’s eyes (Laubner,
and Mrs. Wallis Simpson. Despite the
2000).
emphasis on marriage as a practical
According to researchers at the
necessity in the 1930s, the most famous
Metropolitan Museum of Art, copies of
wedding during this era was famous
the dress were available at major New
because it was an impractical marriage.
York retailers such as Bonwit Teller,
The Prince of Wales became King
Lord & Taylor, and Klein’s just one
Edward VIII on January 20, 1936, but
week after the nuptials. These ranged in
he abdicated to marry the woman he
price from $25 to $9, although the orig-
loved, an American divorcee named
inal had cost $250. Shortly thereafter,
Wallis Simpson. Their marriage was a
copies were available nationwide (Met-
civil ceremony at the Chateau de Conde
ropolitan Museum of Art, n.d.)
in France held on June 3, 1937. The
Now known as the Duke and Duch-
gown worn by Simpson has been
ess of Windsor, the couple would
described as one of the most copied
remain tastemakers and trendsetters
dresses in fashion history. Designed by
during this and later eras. The Duchess
Mainbocher, the first American de-
in particular became something of a
signer to open a salon in Paris, the
style icon, known for wearing such
gown was of a special blue-gray crepe
haute couture designers as Balmain,
that would become known as ‘ Wallis
Schiaparelli, Paquin, Molyneux Lelong,
Blue.’’ It was developed specially to
Ferragamo, and others.
Decorative Details
Smooth, bias-cut textiles such as satin and charmeuse were being used for
the more sculptural gowns, whereas the bustled romantic gowns were fre-
quently made of silk, taffeta, velvet, and tulle. Sometimes these were wo-
ven with threads of cellophane for added sparkle. Special-occasion gowns,
such as wedding dresses, were often made in the romantic style and were
decorated with vast amounts of silk and lace to add volume to the wearer’s
figure. Despite this rich display of wealth, in 1932, Coco Chanel intro-
duced a collection of evening gowns of cotton in an effort to increase the
affordability of her creations.
BUSINESS WEAR
Silhouette
The silhouette for business of course followed the changing trends of the
decade, although as in previous years, simple, unfussy, and practical
214
WOMEN’S FASHIONS
fashions were best. As with daywear, hemlines lowered, and the ideal
woman was tall and slender and wore dresses that showed her figure.
Because of changes in the economy, women were encouraged to remake
their dresses to extend the life of the garments.
Dresses
‘ Town and country dresses’’ were meant for business, shopping, and other
similar outings. The classic shirtwaist dress (a dress with a shirt-style,
button-down bodice) was popular, as were blouse frocks and jacket
dresses. The blouse dress resembled a skirt and blouse but was in fact a
single garment made of two fabrics, usually in a twin print or a solid with
a complementary print. The jacket dress was a tailored frock with a
matching jacket. As the decade progressed, the jacket changed as trends
shifted. Initially the hip-length and boxy jackets were beltless, but eventu-
ally a belt was
added at the natural waist. Boleros also became popular to-
ward the latter part of the decade, and the ensemble was trimmed with a
waist sash. Chanel’s little black dress, as introduced in the 1920s, now
became practical work wear. It was now made with removable collar and
cuffs for easy laundering.
A variety of collars were typical, but the Peter Pan, shawl, and Chelsea
were among the most popular. Collarless V necks were also popular for
summer wear. Sleeveless and short-sleeved shirtwaist dresses were practi-
cal for summer, and long fitted sleeves ending in more formal French
cuffs were acceptable for winter wear.
Suits
Suits, too, were an important part of business fashion for women. Led by
MGM costume designer Gilbert Adrian and actress Joan Crawford, suit
jackets of this period favored a masculine silhouette. The trend for broad
shoulders was emphasized by the use of shoulder pads. Single- and dou-
ble-breasted jackets with increasingly wide lapels emphasized the narrow
waist. Throughout the decade, capes were frequently attached at the
shoulders for added warmth and style. Shawl and notched collars, as well
as collarless jackets, were also prevalent.
In the middle part of the decade, jackets with an inverted pleat at the
back became popular, following the trend in men’s wear. Sleeves varied,
and popular styles included straight fitted, pleat-top, raglan, and pouch
style (or bishop sleeves).
Although suits with skirts were the norm, Hollywood starlets such as
Marlene Dietrich, Greta Garbo, and Katharine Hepburn frequently wore
wide-legged pants suits as early as 1932. For the less-adventurous woman,
1930s, The Great Depression
215
suit skirts were long and either flared or pleated below the knee. In the
early years, the hem was below the calf. Toward the end of the decade,
skirts, which were now A-line, ended below the knee. Irish and Scottish
wool in tartans, checks, herringbone, flannel, jersey, and tweeds were the
most popular materials for business suits and were seen throughout the
decade.
CASUAL WEAR
Silhouette
Fashion changed drastically from the straight lines and boyish look of the
1920s. The 1930s silhouette emphasized feminine curves and sculptural
curves, as well as long skirts, natural and narrow waistlines, and broad-
ened shoulders. With the drastic changes in the economy, small touches