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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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 par t 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 earl y part of the decade were frequent.

From 1920 to 1922, hemlines were just below the calf, then at the ankle

200

WOMEN’S FASHIONS

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. L ounging 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 vel vet 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

1920s, The Jazz Age

201

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-

rics and trim adding interest.

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.

Misses Edith and Irene Mayer, wearing fur and fur-

trimmed coats. [Library of Congress]

202

WOMEN’S FASHIONS

Lighter outerwear, including the highly popular Spanis h and Russian

embroidered shawls, were fashionable for summer . These shawls were

embroidered with floral and folk designs and trimmed with fringe. F requently,

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.

King Tut Sparks Fashion Inspiration.

When Howard Carter dis covered King

Tutankhamun’s tomb in November of

1922, he had no idea about the fashio n

craze that his discovery would inspire.

Within weeks, fashion designers had

incorporated Egyptian motifs into their

designs, and women started snapping up

Egyptian-themed dresses, coats, and

accessories. Stylized Egyptian motifs,

such as scarabs, lotus blossoms, and

sphinxes, were incorporated into gar-

ments. For example, in a design contest

held by the United Cloak and Suit

Designers’ Association of America, the

garmentthatwonthetopprizein1923

was a wrap that included an Egyptian

hathor, or sacred co w, created from beads,

a scarab design, and colors inspired by

those found in Tutankhamun’s tomb .

1920s, The Jazz Age

203

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 W ills. One- and two-piece garments

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]

204

WOMEN’S FASHIONS

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. S he 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.

1920s, The Jazz Age

205

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 gird les were still heavily boned. Corset substi-

tutes were made of softer elastic and referred to as ‘‘step-ins’’ (Laubner

1996). Specialt y corsets wer e 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]

206

WOMEN’S FASHIONS

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

worn by both sexes for warmth rather than style.

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

Fashionable Mlle. Rhea wears a cloche hat,

Cuban heels, and a flask in her garter. [Library

of Congress]

1920s, The Jazz Age

207

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.

Louise Brooks’ straight-haired bob, c. 1929. [Courtesy of Photofest]

208

WOMEN’S FASHIONS

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

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]

1920s, The Jazz Age

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