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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BUSINESS WEAR
Silhouette
The silhouette of business wear was similar to that of formalwear: loose
bodice, loose waist, and full, wide skirts. The waistline in business wear
tended to be closer to the natural waist.
Dresses
After 1914, dresses became less popular that suits. Dress bodices were
relaxed, and, although waistlines were loose, they were defined with
loose-fitting belts. Various necklines were popular, including V-shaped,
squared, and occasionally round. Sailor collars, which were extremely pop-
ular for young people, were worn by women as well. Generally, sleeves
were straight and fitted. Skirts were full at the hip and the hem. The full-
ness was achieved through gathering, pleating, or gores supported by pet-
ticoats. Overskirts were designed into dresses to add fullness at the hip.
Suits
Because of their functional nature, suits became more popular than dresses
during this period. Suit jackets were long and belted at or slightly above
the waist. They had close-fitting sleeves and cuffs. In 1914 and 1915,
many jackets were three-quarter length and had a cutaway hem that
gently sloped back from the front. By 1916, the straight hem was more
popular, and jackets had become shorter. The jacket closure usually con-
sisted of buttons beginning below the bust.
Suit skirts were full with extra width at the hip. In 1914, they were
ankle length, but they gradually shortened to mid-calf length by the end of
the decade. Initially, skirts were somewhat narrow at the hem, but, by 1915,
the fullness that started at the hip continued to the hem. The skirt waist
was raised slightly above the natural waistline. Overskirts and tiered skirts
added fullnes s, and gores and pleats were used to flare skirts out at the hem.
The Norfolk jacket became popular for women. This hip-length jacket
had close-fitting sleeves, a simple, notched collar, and a loosely belted
waist. Often it had two vertical bands extended from the hem, over the
belt and shoulder, and ended at the hem on the opposite side. Many
women wore military-style jackets with a high, standing buttoned collar, a
row of metal buttons down the front, and a belt.
Decorative Details
Suits were usually made from wool or cotton in serge, crepe, or jersey
weaves. Popular colors included navy blue, brown, black, dark green, and
tan. Many suits had contrasting color fabric on the lapels. Buttons were
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WOMEN’S FASHIONS
frequently used for trim. They were arranged in rows on belts, suit jackets,
and skirts.
CASUAL WEAR
Silhouette
During the war, women’s dresses became wider and shorter. By 1917, the
hems were as far as eight inches from the ground (Tortora and Eubank
2005). They had loosely belted waistlines that were placed at the natural
waist or slightly above. Skirts were wide at the hip. In the last two years
of the decade, the waistlines grew wider, skirts narrowed, and hemlines
lengthened.
Dresses
Casual dresses had easy-fitting bodices and loose-fitting belts or sashes
around high waists. Necklines were V-shaped or squared, and sailor col-
lars were popular. Typically, sleeves were close-fitting and had cuffs.
Skirts were ankle length or shorter, and they were gored, pleated, or
gathered to add to their fullness. Overskirts added fullness to the skirt.
Although most overskirts went completely around the body, some only
extended over the side and back. Some overskirts had handkerchief hems,
and others were finished with ruffles or other embellishments. Skirts
sometimes had pleats on the sides to ease movement.
Dresses were typically made from wool challis, wool serge, wool crepe,
silk, cr^epe de Chine, and moire. Black, brown, navy blue, and dark green
were common colors, although white was a popular summer color. Typical
embellishments included rows of buttons on skirts and bodices and flat
bows on the bodice or sash.
Housedresses were worn for work activities around the house. They
were made from durable fabrics such as chambray, flannel, and cotton
serge. They had a narrower ankle-length silhouette with no overskirts.
They had simple turned-over collars and close-fitting three-quarter or
full-length sleeves. Everything about this style of dress was more austere
than regular daywear. These dresses usually came in muted colors that did
not show dirt easily, such as blue, gray, and lavender. There were few
trimmings beyond buttons.
Separates
Blouses/Shirts. Blouses had sleeves and yokes that were cut in one piece.
Raglan sleeves were very popular because they were comfortable and
allowed easy movement. Turnover cuffs were common, and they could be
1914–1919, World War I
191
narrow or wide. V, round, or square necklines were common, as were
Medici, fold-over, and sailor collars.
Compared with the previous decade, the blouses of this period had
simple embellishments. Necklines and cuffs were trimmed with ruffles or
lace. Embroidery, pleating, and buttons were frequently used to decorate
blouses.
In 1918, a bohemian-style blouse became popular. This garment was
loose fitting with full sleeves that gathered into a cuff. The yoke of the
blouse was embroidered with bohemian designs. Sometimes this blouse
was worn tucked in, whereas it was worn as a belted tunic at other times.
Pants. When the United States joined WWI, overalls were marketed
to women because they took up many of the jobs and chores of men who
left to serve in the war. Made from heavyweight chambray, overalls were
loose fitting and belted at the waist. The full, loose pants gathered into
narrow, buttoned cuffs at the ankle. They were available in one- and two-
piece versions. One style, which was worn with a blouse, had a round
neck and two straps that crossed in the back. Other versions could be
worn without a blouse. These came in a variety of styles, including long
sleeves, short sleeves, V necks, and collared. Invariably, they had large
patch pockets on the front of the pants. Solid blue and tan were popular
colors, but many styles came in stripes and checks.
Skirts. Skirts sat high on the waist and usually did not have a waist-
band. The wideness of skirts at the hip was accentuated by overskirts that
reached a variety of lengths from mid-thigh to mid-calf. Sometimes pleat-
ing at lower leg was added for enhanced ease of movement. Commonly
used as trim, rows of buttons were arranged in various places on the skirt,
including the side, overskirt, underskirt, and near the waist.
Other Separates. Sweaters gained popularity during this period.
Although cardigan styles had been commonly worn for some time, pull-
overs became popular in 1915. They had a straight fit, were belted at the
hip, and had long sleeves. Coco Chanel is credited for popularizing pull-
overs (Tortora and Eubank 2005).
OUTERWEAR
Coats
In general, coats grew wider to accommodate wide skirts. As skirt hems
began to flare out at the end of 1915, coat hems followed the trend. Most
were cut full, but many had loose belts or belts along the back. Ankle-length
coats were fashionable in 1914, but three-quarter-length coats became pop-
ular in 1916. By 1918, sport-length co ats were popular as well. These en ded
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WOMEN’S FASHIONS
above the knee and flared out from the waistband. Fur coats followed the
full-cut, loose silhouette, and the y usually featured a straig ht hem.
Raglan sleeves that ended in cuffs were fashionable throughout the
decade. Shawl collars, collars with notched lapels, and square-back collars
were all common. Silk embroidered with Asian designs was inlayed into
the wide collars. Fur collars were fashionable as well. Velour, wool, fur,
and corduroy were used to make fall and winter coats, while cotton, linen,
silk moire, and satin were used for spring coats.
The war’s military influence can be seen in the popular copy of mili-
tary trench coat. It was full cut and belted. Its straight sleeves were embel-
lished with straps and buttons like a typical men’s trench coat. Also, it
had a large, stand-up collar and large patch pockets with pocket flaps.
Epaulets were added to the shoulders of coats, too.
Raincoats were much longer than other coats of this period. They
were ankle length to protect the garments underneath. The back was cut
full and belted. Usually, they had close-fitting sleeves with cuffs, but ki-
mono, raglan, and cape sleeves were also available. Raincoats were made
from a variety of fabrics, which were coated on the inside with rubber to
make them waterproof.
SWIMWEAR AND SPORTSWEAR
Swimwear
Women wore a variety of suit styles. Knit wool tank styles were worn by
athletic women. These had round or V necklines, were sleeveless, and had
shorts that extended to the mid-thigh. Generally, these were worn with
long stockings. Most women wore woven silk or cotton swim dresses with
knit wool undersuits. These suits had round or V necklines, and some-
times they had a collar. They were sleeveless or had short sleeves. They
often buttoned up the front and had a belt. The skirt of the dress
extended to the mid-thigh. In between these two styles there were knit
jersey swim dresses. These hugged the body like the tank style but then
ended in a skirt instead of shorts.
Golf
Typically, women wore wide, calf-length skirts with a middy blouse or a
pullover sweater to play golf.
Tennis
To play tennis, women would wear middy blouses and loose full skirts. A
more casual style of blouse, the middy blouse, or middy coat, was a sturdy
1914–1919, World War I
193
cotton, loose-fitting tunic. These blouses were worn with skirts for a wide
variety of athletic pursuits. Usually, the collar was a sailor collar with a
necktie beneath it, but sometimes stylized notched collars were used. The
blouses had three-quar ter-length or full-length loose sleeves. These func-
tional garments usually had patch pockets on the front. By 1918, loose
belts were added to the blouse.
Skirts were full but narrower than everyday skirts. They were shorter,
coming an inch or two higher than mid-calf. They usually had pockets
but few other adornments.
Skiwear
American women were expected to wear skirts while skiing as a way to
retain their modesty and femininity in an unfeminine sport. They usually
wore long, full wool skirts with sweaters, although their European coun-
terpar ts wore more sensible pants.
Other Activewear
For horseback riding or cycling, women wore dresses or skirts with di-
vided skirts. Some styles obscured the skirt division with a flap that could
be unbuttoned in the front. Norfolk-style jackets, middy blouses, and
other blouse styles would be worn with the skirt.
UNDERWEAR AND INTIMATE APPAREL
Undergarments
Most corsets ended below the bust, so a new garment had to be developed
to support the breasts. The brassiere emerged to fill this purpose. As skirts
became wider, fuller petticoats were needed to give them lift. A new combi-
nation garment was created that merged together camisoles and drawers. It
was called camiknickers and featured buttons at the crotch. Women still
wore union suits, especially in the colder months. Union suits were mar-
keted as health suits because they kept germs away from one’s body and
perspiration off of one’s clothes.
Sleepwear
Nightgowns were cut with straight long waists. They were decorated with
flat panels of lace, flat bows, and lace-edged sleeves and collars. Valenci-
ennes lace was particularly popular. White and pink batiste, a lightweight
cotton fabric, were popular for summer nightgowns. During the rest of
the year, silks, cotton, cr^epe de Chine, georgette, and flannel were used.
By 1916, flesh-colored gowns became popular.
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WOMEN’S FASHIONS
During the war, heavy duties had been placed on imported garments,
and retailers tried to avoid having duties imposed on the goods they
imported. Marshall Field and Company was no exception. They tried to
skirt the duty on embroidered garments for a shipment of nightgowns,
but a customs ruling found them dutiable at 50 percent (New York Times,
December 4, 1915).
HEADWEAR,HAIRSTYLES, AND COSMETICS
Headwear
By 1915, women’s headwear featured high, wide crowns with relatively
narrow or upturned brims. The trimmings continued to be the focal point
of the hat. Silk roses, feathers, wide ribbons, and artificial flowers were all
piled along the crown of the hat. Face veils were fashionable during this
period. Within a couple of years, brims widened and trimmings were usu-
ally limited to a wide ribbon hatband with a large bow.
Hairstyles
During this period, hair was worn closer to the face as women moved
away from the full pompadour style. By the end of the decade, women
built height in the hair at the back of their head and arranged their hair
forward over their ears on the sides. They continued to wear their hair up
in a bun or chignon. Some women experimented with permanent waves.
They used hairpins and decorative barrettes to secure their hairstyles.
Mascara. Modern mascara has its origins
in another product: Vaseline. After learn-
ing about a waxy petroleum byproduct
that clogged oil-well heads, chemist
Robert Augustus Chesebrough marketed
a purified version of the substance under
the name Vaseline in 1872. By the end
of the nineteenth century, Vaseline was a
common product in most American
households.
This versatile substance was used in
a variet y of ways, inc luding treating
cuts, softening hands and lips,
preventing r ust, polishing wood, and
baking. Women, eager for an easy way
to darken their eyelashes, mixed Vase-
line with coal dust or lamp black,
which was acquired by holding a saucer
over a l it candle until it got sooty.
Thomas L. Williams learned of this
trick and began selling the mixture
under the name ‘‘Lash-Brow-Ine’’ in
1913. It was immediatel y popular, and
he rechristened the product ‘‘May-
belline’’ after his sister Mabel. Maybel-
line is now a subsidiary of L’Oreal.
1914–1919, World War I
195
Cosmetics
Women still wore pale face powder, but they began wearing peach-colored
rouge instead of pink. During the war, cosmetics became more difficult to
find. Women used the end of a burnt match to darken their eyebrows and
beetroot juice to tint their lips.
FOOTWEAR AND LEGWEAR
Footwear
During the last half of the 1910s, footwear became more visible with the
rising hemlines. Although high button shoes kept feet warm in cold
weather, low shoes became more widely worn. They were usually secured
to the foot with a strap across the vamp that buttoned on the opposite
side. By 1918, oxfords had become very popular, and low shoes without
straps were widely available.
Both blunt and pointed toes were common. Heels were made from a
variety of materials, including wood, celluloid (an early plastic), and rub-
ber. Evening shoes had elaborate lattice straps with decorative stitching or
decorative buckles.
Legwear
As women had done in the previous decade, they wore dark cotton stock-
ings during the day and light-colored silk ones for formal occasions.
Rayon stocking were introduced as artificial silk.
NECKWEAR AND OTHER ACCESSORIES
Jewelry
Women wore drop earrings and long necklaces made from chains and
beads. Necklaces were often wrapped around the neck a few times. For
formal occasions, women would wear tiaras. Hat pins and scarf pins were
used to secure those accessories. Brooches were worn on blouses and jack-
ets. Both pocket watches and bracelet-style wristwatches were worn.
Handbags
Handbags consisted of fabric or leather pouches attached to a metal or
ivory frame, which had a clasp to keep the bag closed. Also attached to
the frame was a short strap made from leather or fabric or a metal chain,
which allowed the bag to be worn on the wrist. Most of the embellish-
ment was on the metal frame. Some purses had beaded pouches that were
finished with tassels.
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WOMEN’S FASHIONS
Around 1916, party boxes were sold as an evening alternative to hand-
bags. Party bags were hard-sided rectangular metal cases that hung from
short chains or a strap. Both sides of the case could open to reveal neatly
organized compartments for a variety of essential items such as powder
and puff, pins, coins, comb, mirror, lipstick, calling cards, nail file, and
perfume.
Other Accessories
Women wore both flat and round fur muffs, along with animal-style boas,
which included the animal’s head and tail. Plain fur scarves with fur tas-
sels were fashionable later in the decade.
Fabric sash-style belts were a common accessory. Elastic webbing usu-
ally served as the base beneath the fabric, and the belt was secured with a
buckle or hook fasteners. Bows, buttons, buckles, and silk flowers were
used to adorn the front of the belt.
Women carried umbrellas and wore fitted leather or fabric gloves.
1920S ,
THE JAZZ AGE
Aside from the transition from the WWI silhouette to the characteristic
1920s silhouette, styles remained relatively consistent during the 1920s.
The decade was dubbed the Jazz Age because of the popularity of the
music style and the emphasis on parties and dancing during the decade.
FORMALWEAR
Silhouette
The earl y 1920s silhouette focused on the romantic robe-de-style or
‘‘picture dress.’’ Based on historical styles, features of this shape included a
boned bodice, an ankle-length oval skirt supported by panniers, and a
broad neckline (Laubner 1996). Resembling a romantic shepherdess, the
gowns were frequently made in pastel colors and decorated with ribbons.
Designers such as Lanvin and Lady Duff Gordon (Lucile) focused on this
shape and created dresses using silk taffeta, organdy, velvet, or satin.
Generally, however, evening gowns of the twenties were ankle-length,
straight-cut sleeveless sheaths worn over colorful slips. They often had a
dropped waist with geometric inserts, draping, and were low-cut in the
front, the back, or both. Gowns were frequently cut on the bias and fea-
tured asymmetrical piecing. This straightened and flattened silhouette was
1920s, The Jazz Age
197
often referred to as the garc¸onne or ‘‘flapper’’ look and was associated with
a boyish figure. Epitomized by Coco Chanel’s ‘‘little black dress,’’ it was
popular from 1926 through 1929 (Mendes to De La Haye 1999).
Skirts
During this time, hem lengths were the same for day and eveningwear
but varied throughout the decade. In the early twenties, hems were two
or three inches above the ankle, dropping to ankle length in 1923 and
1924, and rising to the knee in 1925. Hems stayed high until 1929, when
they suddenly dropped back down again.
Although skirts were straight cut and tubular, interest was added
through a variet y of creative attachments. Panels, handkerchief squares,
asymmetrical draping, and scallops all created the irregular hemlines that
were popular throughout the decade.
Bodices
Complementing the romantic styles of the early 1920s, the waistline was
placed slightly above the natural line but quickly moved down to the hips
to complement the flapper look in 1922. Generally, unstructured blouson
bodices were popular, and the waistline was trimmed with a wide sash
and bow or with excess fabric draped and pinned on one side.
Neckline
For the romantic robe-de-style, the neckline was usually a shallow boat
neck, often trimmed with lace. For the more iconic garc¸onne shape, eve-
ningwear was typically very low cut in the front and/or the back in either
a U or V shape. Designer Madeline Vionnet offered alternatives such as
the halter or cowl neckline. Other alternatives included a square, untail-
ored shape that cut across the top of the chest.
Sleeves
Picture dresses varied but frequently featured tight-fitting long sleeves of
diaphanous material with a single ruffle at the cuff. Evening gowns with
garc¸onne styling were sleeveless or had thin shoulder straps.
Decorative Details
For both the earlier and later silhouettes, high-quality materials and deco-
rations epitomiz ed formal eveningwear. Sparkling fabrics and decorations
were particularly popular, especially beading and gold and silver lame.
Metallic embroidery, diamante, and rhinestones were also favored trims.
Luxurious fabrics such as brocaded silk, metallic lace, chiffon velvet, cr^epe
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WOMEN’S FASHIONS
de Chine, silk satin, and charmeuse were used throughout the 1920s for
evening finery. Solid, quiet colors such as ivory and peach were preferred
to show off the sparkling decorations and trims. When patterns were
used, they were generally small and scattered to complement the asym-
metrical design, bias cuts, and pieced garments.
Coco Chanel’s lit tle 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. Decoratio n on these early suit s usually included Chel-
sea and notched collars and a number of belts, crisscrossing over the jacket.
1920s, The Jazz Age
199