Peterson A.T., Hewitt V., Vaughan H., Kellogg A.T. The Greenwood Encyclopedia of Clothing through American History, 1900 to the Present. Volume 1: 1900-1949
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NECKWEAR AND OTHER ACCESSORIES
Jewelry
Most jewelry followed natural themes such as flow-
ers, butterflies, dragonflies, and animals. Brooches,
pendant necklaces, and earrings included this motif,
and they often were crafted in the Art Nouveau
style. Dog collars were ver y popular for eveningwear.
These were tall necklaces that extended up from the
base of the neck. They usually were made of several
strands of beads or jewels linked together at intervals
by bands. Although wealthy women wore jewelry
made from precious metals and stones, most women
wore jewelry from less-expensive materials. Paste
stones, cut glass, and imitation pearls were popular,
and they were often set into silver gilt.
Handbags
Handbags were usually made of fabric or leather
set onto a metal or ivory frame with a clasp at the
top. The handles were short, because they were
intended to be worn on the wrist. A variety of
leathers such as calfskin and ostrich skin were
used for the bags. When fabric was used, usually
it was silk. Often the metal frames were engraved with decorations, and
sometimes the handles were tied into a bow.
Other Accessories
Muffs were popular winter accessories. They were flat and made of fur.
They were usually coordinated with a stole. Decorative parasols were pop-
ular accessories and were used to keep the sun from tanning women’s skin.
The handle of the parasol may have been made of ivory, silver, or fine
wood, but usually the fabric of the parasol was silk. Collapsible fabric or
ostrich fans were popular, and women often wore boas made of marabou
feathers, especially with eveningwear.
1909–1914,
EMPIRE REVIVAL
In the years preceding WWI, Americans were shifting toward a break with
past fashions. The highly corseted fashions that extended to the floor were
A day suit with coat, hat and muff. [Library of
Congress]
180
WOMEN’S FASHIONS
about to disappear, and the fashion drivers of the period between 1909 and
the war pushed to move the masses in that direction. The era is named for
its revival of the Empire aesthetic that was popular from 1800 to 1815.
FORMALWEAR
Silhouette
The silhouette of this period is aptly named the empire silhouette. It is
characterized by a narrow bodice, a high waistline located just beneath the
bust, and a slim skirt.
Skirts
Skirts narrowed and became shorter. Earlier in the decade, skirt designs
required five yards, and, by 1912, they only required two (New York Times
1912). Skirts behaved more like underskirts, because they usually had a
long tunic over them that extended to the lower thigh. Usually, evening
skirts were made of silk and included a component of visual interest such as
pleating, asymmetrical draping, or beading. By 1913, many skirts featured
panniers, which consisted of gathered fabric to give the hips extra fullness.
Three variations of empire waist tunics with skirts, including a lampshade tunic on
the right. [Library of Congress]
1909–1914, Empire Revival
181
Bodices
Compared with the Edwardian pe-
riod, bodices greatly simplified dur-
ing the Empire Revival period. They
were more closely fitted to the body
and lost the pouch in the front. They
often had front closures, making it
much easier for women to dress
themselves. Surplice bodices were
extremely popular, and the crossover
in the fabric was usually emphasized
with trim. Typically, the bodice was a
tunic that extended to just above the
knee. The tunic was nipped at the
elevated empire waistline by a sash.
P aul P oiret created an extreme ver-
sion of the tunic style called the mina-
ret or lampshade tunic. A surplice top
gathered into a sash at the empire
waistline, and the skirt of the tunic
was held out in a full circle with bon-
ing. Beneath the tunic, he used draped,
narrow hemmed skirts and occasion-
ally loose Turkish-style trousers.
Neckline
The dominant neckline of the period was the V neck. Sometimes it would be a
deep V with a horizontal inset. Occasionally, round and square necklines were
used. Horizontal insets in square necklines were commo n as well.
Sleeves
Sleeves were usually short for eveningwear . They were often sheerer than the
dress itself. Many times, they would be edged with fringe or fur. Women wore
long gloves with the short sleeves. Kimono sleeves were also popular.
Decorative Details
Usually, the tunic was net over silk to give the dress a diaphanous appearance.
Pale colors such as steel blue, pale blue, lemon yellow, cream, pink, and white
were popular, but dark colors such as black, royal blue, and emerald were not
rare (Olian 1998). The oriental influence was incorporated in the decoration,
especially the embroidery. Other common forms of decoration included
beading, lace insets, lace trim, fringe, and trains. Frequently, decoration was
Examples of the harem ensemble, c. 1912–1914. Outfits such as
these and those by Paul Poiret showed exotic Turkish-style
designs. [Library of Congress]
182
WOMEN’S FASHIONS
applied asymmetrically. Surplice bodices were trimmed with a variety of
embellishments, including ruffles, fur, and fabric rosettes.
BUSINESS WEAR
Silhouette
Business wear followed a silhouette that was similar to the one used for
eveningwear. The empire waistline was usually a little lower than the one
used for eveningwear, but it was still well above the natural waistline.
Skirts were narrow and shorter, and the bodice included a tunic or long
jacket.
Suits
Suits consisted of narrow skirts and long, belted jackets. As early as 1908,
the waistline was moving up toward the bust, and the jacket was belted,
nipped, or featured a waistband at the elevated waistline. Later in the pe-
riod, jackets gathered at the waistline and expanded into fullness around
the hips. The hem of the jacket extended past the hips, and the sleeves
were generally close fitting. Sometimes they included cuffs. The skirts
narrowed as the period progressed, and they were slit at the front or side
for easier maneuverability.
Decorative Details
Wool was a common fabric choice for suits. Frequently, cheviot, a rough-
surfaced twill, was used for its durability. Buttons and embroidery were
used as embellishments. Contrasting silk or velvet insets trimmed cuffs
and lapels.
CASUAL WEAR
Silhouette
Like business wear, the silhouette of casual wear was dominated by the
elevated empire waistline, but it was not as high as the ones used in eve-
ningwear. The skirts were slim, with hemlines that were one to three
inches off the ground.
Dresses
Usually, dresses were one piece, although separates and suits were equally
popular. By 1909, the silhouette had straightened, eliminating the S-curve
that had been popular earlier in the decade. The waistline had begun
moving toward the bust, and the skirt narrowed.
1909–1914, Empire Revival
183
Bodices became more fitted, and the pouch of the previous years had
completely vanished by 1912. The abundant frilly lace that dominated
bodices earlier in the decade became quieter accents along the neckline
and sleeves. The full bishop sleeve disappeared and was replaced by close-
fitting sleeves that ended in cuffs, shorter kimono-style sleeves, and elbow
or three-quarter-length sleeves. Undersleeves appeared beneath shorter
sleeves. High collars, which had been a fashion staple for decades, gradu-
ally disappeared and were replaced by V, round, and square necklines.
Guimpes, which were inserts into V and square necklines to add modesty,
were common. Bolero-style bodices were common by 1913, and dresses
that simulated a pinafore-style bodice were popular as well.
From 1909 to 1911, simple narrow skirts were the no rm, but, in
1912, the hemline narrowed further. The most extreme of these skirts
was a hobble skirt, because it effectivel y restricted the wearer’s stride.
Some women wore restraints around their ankles to keep themselves
from ripping their skir ts. L ess severe skirts often included a slit to ease
movement.
Separates
Blouses/Shirts. Tunic layers over underskirts were very common. Tunics
came in a wide variety of styles. Some were narrow, some followed the
dress silhouette in which they were full at the hip and narrowed toward
the hem, whereas others were full from the waist to the hem.
Shirtwaists continued to be paired with skirts and suits. They were less
elaborately decorated than the ones earlier in the decade. Some of them
were tailored like men’s shirts, complete with high collars and separate
neckties. Others had lower lapels and lower necklines, which were often
worn with jabots.
Skirts. Like the skirts of dresses, separate skirts ranged in silhouette
from straight and slim to exaggerated emphasis on the hip and extremely
narrow hemlines. Peg-top skir ts were fashionable. They were full over the
hip and then narrowed to the hem.
Decorative Details
Although frills and trims continued to be used, they were less elaborate
than they were earlier in the decade. Popular colors moved away from
candy-colored pastels to putty, brown, black, cypress green, navy blue,
plum, mauve, and delft blue (Olian 1998).
Frequently used fabrics included foulard, which was a silk or cotton
made into a finely woven twill, and printed with geometric patterns such
as circles and stripes. Another common summertime fabric was batiste, a
184
WOMEN’S FASHIONS
finely woven lightweight cotton. Silk shantung, which incorporated the
irregularities of the fiber into the weave, was used for dressier daytime
garments. Wool was frequently used, especially in fall and winter casual
wear. It was woven into plain weave and cheviot. Silk cashmere and velvet
were commonl y used in finer casual wear for the afternoon.
Embellishments tended to be clustered along the edges of garments.
Common decorations included lace collars and cuffs, edging on the hem of a
tunic or skirt, and braids and embroidery along collars, cuffs, and necklines.
By 1912, fur was commonly used as a trim along necklines, sleeves, and
hems. Lapels, also known as revers, became a focal point of embellishment
with contrasting colors of satin, velvet, and embroidery. Fabric sashes, fabric
belts, and leather belts accentuated the elevated waistlines.
OUTERWEAR
Coats
Daytime coats were long or extended to the mid-thigh or knee. By the
end of the era, some coats were so short that they extended just below
the hip. They followed the narrow empire silhouette. The shor ter, looser
versions of coats were called paletots. S ome had front closures, whereas
other coats wrapped across the body and fastened on the far left side.
Lapels could be broad and accented with embroidery or contrasting fab-
ric trim. Frequently, fur trimmed the collar, cuffs, and hemline. Earl y in
this era, buttons not onl y ser ved as closures but as decoration along the
back and sides of the skirt. A variety of materials were used to make
coats, including wool herringbone, velvet, silk, corduroy, and a variety
of furs.
Evening coats were loose and full-cut across the back. A few styles
had asymmetrical hemlines that dipped into points on the sides.
Shawls/Wraps
Fur stoles continued to be popular, and sometimes their ends were embel-
lished with fur tassels. Capes were less frequently used.
SWIMWEAR AND SPORTSWEAR
Swimwear
Athleticism began to override the prevailing modesty. Previously, swim-
suits had followed the lines of dresses replete with voluminous skirts. By
1910, a wool tighter-fitting one-piece suit was generally accepted. When
it got wet, it sagged considerably and hugged a woman’s curves. Typically,
1909–1914, Empire Revival
185
suits had rounded or V necklines, were sleeveless, and had long tunic-style
tops over shorts that extended to the mid-thigh. These suits were worn
with a matching cap and stockings that went up to the mid-calf. In 1910,
Jantzen marketed a new fabric called rib stitch that stretched and kept its
shape when wet.
Sometimes suits still had skirts for modesty. Many people thought the
form-fitting suits were scandalous, and they exposed too much of the
arms, legs, and neck. Sometimes bathers who showed too much skin
risked arrest and indecent exposure charges.
Golf
Golf required a sport suit with a short shirt that extended to mid-calf.
The suit was loosely fitted in the jacket and waist and had raglan sleeves.
Sometimes the skirt would have a slit to ease movement.
Other Activewear
Ice skating was quite popular during the Empire Revival period. Ice skat-
ing costumes featured wider hemmed skirts than typical casual wear. Slits
were added to the skirts for freer movements. Over the skirts, belted mid-
thigh-length jackets were worn. Sometimes the belts were worn high up
over the waist, and other times they were lower at the natural waist or
below. Warm hats, gloves, and muffs completed the ensemble.
Generally, activewear was tailored for easier movement. Raglan sleeves,
jackets with loose-fitting backs, and knitted jackets allowed free arm move-
ments. Hemlines were shorter and broader. Caps and hats were lower and fit
more closely to the head, so they no longer needed to be tied down by a veil.
UNDERWEAR AND INTIMATE APPAREL
Undergarments
The fashions of the Empire Revival period did not require as many
undergarments as the fashions earlier in the century. Although most
women continued to wear corsets, many women gave them up, and several
designers created garments that did not require them. Combination
underwear that brought together drawers and the chemise continued to
be popular. As the silhouette narrowed, princess-style petticoats became
popular because women did not need extra bulk underneath their dresses.
The ruffles, fluffy bows, and puffs of lace from the 1900s were replaced
with flat bows and bands of lace.
Sleepwear
The changes in nightgowns mirror those in undergarments. Extravagant
ruffles, lace, and gathers of fabric fell out of fashion. The silhouette
186
WOMEN’S FASHIONS
narrowed close to the body. A t ypical style included two bands of flat lace
that extended over the shoulders and down to the hem. They were broken
by two transverse bands of lace at the neckline and just below the bust.
Gowns could be practically sleeveless or have longer sleeves or kimono
sleeves. Square and V necks were popular.
Parisian designers such as Paul Poiret dabbled in sleepwear. In 1910,
they designed nightgowns in the ‘‘peasant style’’ (Rittenhouse 1910). These
nightgowns were cut in a square silhouette like peasant smocks. They were
straight and long, with a long, narrow panel of eyelet down the front. The
sleeves could be straight and narrow, ending in a cuff with lace edging,
loose and full, or three-quarter length. Sometimes this style of nightgown
had a low-cut neckline that was filled with heavy white net.
Muslin, lawn, cr^epe de Chine, and flannel were commonly used fab-
rics for nightgowns, and white and pastels were popular colors. Flat
bands of lace, wi de embroidered beading on the sle eves, flat bows,
embroidered buttonholes, and flat rose ttes made from ribbon were com-
mon embellishments.
Boudoir caps were made of strips of heavy brocade, which covered a
lace foundation. Another popular cap was a cr^epe de Chine bandana-style
wrap that had ends that snapped together.
Other garments
For lounging, women would wear kimonos and dressing sacques.
HEADWEAR,HAIRSTYLES, AND COSMETICS
Headwear
Around 1910, oversized hats were popular. These substantial hats could
be as wide as a woman’s shoulders and quite tall. Embellishments were
heaped onto these hats. They were topped with enormous ribbons tied
into bows, artificial flowers and leaves, and exotic feathers. By 1912, the
decoration became more subdued and the height of the crown shrunk.
Narrower, less constructed hats such as berets and turbans became stylish.
By 1913, plumes of exotic feather jutted vertically and horizontally from
hats. Hats were constructed of straw, velvet, and woven horsehair.
Hairstyles
The pompadour fell out of favor, and hair was less bouffant. It was still
pulled into a bun at the back or top of the head and arranged loosely
around the face and sides. Marcel waves and other waving techniques
were still used by women with straight hair.
1909–1914, Empire Revival
187
Cosmetics
Women continued to aspire to have flawless, pale complexions, which
they achieved with powder and carefully applied rouge. Colored salves
tinted the lips, and pencils darkened brows.
FOOTWEAR AND LEGWEAR
Footwear
Daytime footwear was made from leather, whereas evening shoes were made
from satin, silk brocade, or kid leather . Most shoes had a two-and-a-half-
inch heel and featured straps that crossed the vamp and fastened on the
opposite side with a button. In anotherpopularstyle,theshoetonguewas
visible beneath a decorative buckle. Oxford style shoes were popular as well.
Legwear
Legwear did not change from the Edwardian period. During the day,
women wore cotton stockings in neutral or dark colors. In the evening,
they wore silk stockings.
NECKWEAR AND OTHER ACCESSORIES
Jewelry
Pendant necklaces, drop earrings, rings, and cuff bracelets were popular.
Decorative and jeweled hair pins and hat pins were common eveningwear.
Multiple strands of pearls were worn with evening gowns, and wealthy
women piled strands of precious stones around their necks for social
occasions.
Handbags
Although leather and fabric handbags on metal or ivor y frames continued to
be popular, a new pouch-style bag emerged. The pouch-style bag made from
either leather or fabric had a longer handle and a flap and button fastener.
Other
Women continued to wear gloves, carry parasols, and wear both fabric
and leather belts.
1914–1919,
WORLD WAR I
This period is named for the war that dominated the social landscape of
America during this time. Fashions shifted to become more utilitarian
and functional.
188
WOMEN’S FASHIONS
FORMALWEAR
Silhouette
The silhouette during this period featured wide, loose bodices and waists
and wide hips that were augmented by tiered skirts and flounces. The for-
malwear silhouette is similar to the daytime lines, although the waistline
was usuall y higher than the natural waist.
Skirts
The width of the skirt made it a focal point. Overskirts, flounces, gath-
ers, r uffles, and floating panels of fabric were situated to give the hip a
wide appearance. At the beginning period, skirts extended to the ankle,
but toward the end of the decade, they were several inches from the
ground.
Formal dresses often had more than one layer of overskirt made from
a variety of light, delicate fabrics such as chiffon, lace, and cr^epe de
Chine. The overskirts came in various lengths from just below the hip to
mid-ankle. Some overskirts had handkerchief hems or draped hems.
Bodices
Bodices were loose fitting and accented by a loose waistband or sash that
was above the natural waistline.
Neckline
Popular necklines included square, V, and round. Sometimes decolletage
was filled with transparent fabric.
Sleeves
Sleeves were either short or extended to the elbow. Raglan sleeves were
very popular, and the dropped shoulder created by the sleeve style was of-
ten emphasized with fabric or lace draped from the waistline over the
shoulder. Sleeveless styles only had narrow straps over the shoulder.
Decorative Details
Formal gowns were usually made in light-colore d fabrics such as pink,
light blue, and white. Black was another popular color. S ilk, cr^epe de
Chine, chiffon, lace, and georgette crepe were commonly used for for-
mal dresses. Beading and embroider y in gold and silver remained popu-
lar trimmings. Embroidered chiffon overlays were commonly used, as
were lace trim and insets. Satin sashes were another frequent formal-
wear feature.
1914–1919, World War I
189