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
Подождите немного. Документ загружается.
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
Miss Mary Jayne, with a bob haircut and T-bar shoes. [Library of Congress]
210
WOMEN’S FASHIONS
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, consequently, 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 ,
THE GREAT DEPRESSION
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.
1930s, The Great Depression
211
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.
212
WOMEN’S FASHIONS
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. S pecial-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 effor t 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
The Marriage of the Duke of Windsor
and Mrs. Wallis Simpson. Despite the
emphasis on marriage as a practical
necessity in the 1930s, the most famous
wedding during this era was famous
because it was an impractical marriage.
The Prince of Wales became King
Edward VIII on January 20, 1936, but
he abdicated to marry the woman he
loved, an American divorcee named
Wallis Simpson. Their marriage was a
civil ceremony at the Chateau de Conde
in France held on June 3, 1937. The
gown worn by Simpson has been
described as one of the most copied
dresses in fashion history. Designed by
Mainbocher, the first American de-
signer to open a salon in Paris, the
gown was of a special blue-gray crepe
that would become known as ‘‘Wallis
Blue.’’ It was developed specially to
complement the bride’s eyes (Laubner,
2000).
According to researchers at the
Metropolitan Museum of Art, copies of
the dress were available at major New
York retailers such as Bonwit Teller,
Lord & Taylor, and Klein’s just one
week after the nuptials. These ranged in
price from $25 to $9, although the orig-
inal had cost $250. Shortly thereafter,
copies were available nationwide (Met-
ropolitan Museum of Art, n.d.)
Now known as the D uke and Duch-
ess of Windsor, the couple would
remain tastemakers and trendsetters
during this and later eras. The Duchess
in particular became something of a
style icon, known for wearing such
haute couture designers as Balmain,
Schiaparelli, Paquin, Molyneux Lelong,
Ferragamo, and others.
1930s, The Great Depression
213
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 c lassic 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,
214
WOMEN’S FASHIONS
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
of luxury were added to higher-quality day dresses rather than the overt
displays of wealth of the previous decade.
Dresses
Dresses were still more popular for daywear than other types of garments.
Button-up, shirt-style dresses with blouson tops were common. Dresses
designed in the early part of the decade sometimes had two waist seams:
one at the natural waist and one at the hip, evidencing the transition from
the earlier 1920s dropped waist. High collars or fur scarves framed the
face and added a chicness to more formal daywear dresses.
Sleeve s and shoulders were the focus of the 1930s silhouette. Sleeves
themselves were generally full from the elbow to the wrist. Referred to as a
‘‘coat-hanger silhouette,’’ the exaggerated shoulder was the focus for a variety
of des igners beginning in 1933. Pagoda sho ulders, shoulder flares, tabs, and
layering all added to the bulk of the shoulder. The focus on the shoulder
was also emphasized by shoulder-wide collars, ruffles, flounces, wrap tops,
and ruffled sleeves. Capes and cape sleeve s continued to be fashionable.
Skirts became narrow across the hips, were slightly flared, and were
much longer. The time of day dictated the length, and typically daywear
was approximately four teen inches from the ground, with afternoon wear
approximately twelve inches from the ground. Inset triangular sections,
flares, and a variety of pleats added interest to skirt shapes and empha-
sized movement.
Separates
In the early 1930s, ensembles were more popular than separates, but they
slowly found their way into daywear (New York Times 1930). Knitwear,
1930s, The Great Depression
215
blouses, and skirts were becoming a part of the fashionable wardrobe.
Trousers continued along similar lines as in the previous decade. They
had a flat front, were wide legged, and were often paired with short-
sleeved, collared knit tops with geometric graphic designs. More formal
silk tops featured draped pieces and were frequently belted and trimmed
with ribbon.
Decorative Details
Daywear colors depended on time and location. Subdued tones such as
black, navy, and gray were popular in the city; browns and greens were
prevalent in the fall. Afternoon wear was usually black or a pastel shade
of peach, green, blue, or pink.
Buttons were a popular trim, especially square ones (Washington Post
1935). Innovator Elsa S hiaparelli frequently used creative shapes such as
acrobats and lovebirds. The zip fastener also began to be used on hand-
bags and eventually on daywear. Belts worn at the natural waist were
nearly universal. Fur trim made of flat pelts was also used for daywear.
OUTERWEAR
Coats
As it had in the early 1920s, the silhouette of the 1930s swung from fem-
inine to more masculine shapes as the decade progressed. Early 1930s
coats were rounded and feminine to match the silhouette of the garments
underneath. Shoulders became more pronounced as the decade pro-
gressed, and, eventually, the overall look become boxy and square. Both
collars and lapels grew in size as the decade progressed. Popular details
included added fabric at the back in the form of pleated, ‘‘action-back’’
detailing, and fishtail backs, which were created with large rippling pleats
from a shoulder yoke. The early 1930s saw coat hems ending below the
calf, but they rose to the knee in 1937 and remained there for the dura-
tion of WWII.
Several coat styles carried over from the previous decade. These
included the surplice coat and polo coats. Initially worn by men to polo
matches in the 1920s, women adopted the double-breasted, caramel-
colored sport coat in the early 1930s. Later styles included the following:
the reefer coat, which was inspired by the U.S. Navy pea coat; the swagger
coat, which featured a flared or fishtail back; the hourglass-shaped prin-
cess coat; and the short, square box coat of the late 1930s.
Wool and wool blends were the most popular for cloth coats, in check,
herringbone, plaid, and ombre stripe. Solid somber colors such as tan,
216
WOMEN’S FASHIONS
oxford gray, navy, and brown were popular in the early 1930s, with more
vibrant colors such as wine, rust, teal, and pink gaining popularity in the
later 1930s.
Fur coats continued to be popular with the wealthy, and particular atten-
tion was paid to silver fox, sable, and the novelty of monkey fur. Fur scarves
and piec es continued to be worn over suits and dresses as status symbols.
Shawls/Wraps
Evening wraps and capes followed feminine lines throughout the decade.
Long and slender coats in dark velvet lined in light-colored silk, taffeta,
or satin were most popular. Shorter, jacket versions were also frequently
worn. Peter Pan and bumper collars were frequently used on these gar-
ments. Inspired by period movies, evening capes of velvet, taffeta, and
satin had shawl or stand collars, with hoods becoming popular at the end
of the decade. Lengths varied and were found as short as the elbow and
as long as a full-length gown, with anything in between permitted.
SWIMWEAR/SPORTWEAR
Swimwear
Sunbathing continued to be popular, but a fitness craze was also in full
swing. Toned bodies were shown off in tighter, flesh-revealing styles.
Elastic fabrics such as Lastex and Contralex developed by companies like
Jantzen helped to shape the figure (Prober t 1981b). The overskirts and
extra material of the previous decade were discarded for brief one- and
two-piece suits that resembled men’s styles. Swimsuits of the time were
also very low in the back with cross-over straps and halter necklines.
White suits became popular to show off a tan, and later bright colors
became popular. In 1935, the two-piece later known as the ‘‘bikini’’
appeared but did not proliferate until the 1940s. In the late thirties, the
elasticity and cut of swimwear focus moved from the back to the hips.
Although exposure was common on the beach, covering up had a mul-
titude of fashionable options. Beach pajamas, now cut on the bias, contin-
ued to be worn and were frequently seen in a variety of sporting activities,
including yachting. Other types of beachwear included beach suits, bicycle
beach suits, and basic coordinates. Other cover-up options included tailored
hip-length beach coats and capes. Fabrics for beachwear ran the gamut and
included terry cloth, spongy cotton, and wool in a variety of knits.
Large sun hats tied with a ribbon under the chin helped protect bath-
ers from sunburn. Heeled and flat sandals, sometimes with lacing up the
legs, were also frequently worn.
1930s, The Great Depression
217
Skiwear
Skiing did not become a popular sport in the United States until the
1930s. Winter festivals on the east coast, beginning in 1931, and the
Winter Olympics of 1932 at Lake Placid helped the sport to rise in popu-
larity for the wealthy elite.
The typical ski outfit for both men and women was a double-breasted
boxy jacket worn with Norwegian-style trousers that were gathered at the
ankle using Lastex yarn. Stirrup pants were later introduced at the 1936
Ol ympics in Germany. Darker colors were initially worn, with brighter
tones appearing later. Expert skiers wore white, which in the 1920s had
been frowned on. Two-tone suits and brightly trimmed accessories were
also popular. Typical high-fashion fabrics such as gabardine, silk, wool,
and jersey were waterproofed for skiwear. Schiaparelli even went so far as
to introduce tortoiseshell-rimmed ski goggles in 1936 for wealthy women
to wear on the slopes.
The U.S. women’s Olympic swim team, 1936. [AP / Wide World Photos]
218
WOMEN’S FASHIONS
Golf
One- and two-piece ensembles in tweed were popular for golf. Some were
adamantly in favor of one over the other. However, professional golfer
Molly Gourlay claimed that ‘‘any form of one-piece garment; anything
hung from the shoulders impedes balance’’ (Lee-Potter 1984, 35).
Brightly colored double-breasted jackets in suede were popular through-
out the decade. Coordinating pieces that allowed for adaptation to chang-
ing weather were created in contrasting colors, with flamboyant details.
Companies, such as Burberry, produced wraparound skirts, culottes, short
tailored jackets, and similar garments for the relatively formal sport,
although by the end of the decade slacks became acceptable.
Tennis
The shirt and shorts suit was typical attire in the early thirties. By the late
thirties, a shorts dress with side button was fashionable. Halter necklines
were popular. The cardigan of the 1920s was replaced by a silk or tweed
coat. Detailing focused on the back and included small bows, buttons,
and contrasting trim. Voluminous skirts were created through goring and
bias cuts rather than pleating. Sportswear for tennis was made of washable
silk, linen, or broadcloth. Tennis celebrities caused sensations in the 1930s
as well. Mrs. Fearnley-Whittingstall played without stockings in 1931,
and Alice Marble wore shorts to Wimbledon in 1933.
Other Activewear
Other fashionable sports for women in the thirties included waterskiing,
running, fencing, and mountaineering. All sports clothing required expert
tailoring. In general, shorts and pockets were the innovations of the day.
Cycling required pants or shorts made of sturdy materials such as flannel,
leather, or tweed and were worn with masculine shirts. For hunting and
fishing, various types of bifurcated garments became acceptable for
women. These included trousers, plus-fours, jodhpurs, and divided skirts.
UNDERWEAR AND INTIMATE APPAREL
Undergarments
When fashion returned to a feminine figure and the bias cut grew popu-
lar, undergarments became smooth, undecorated, and supportive. Popular
backless, figure-hugging evening gowns were frequently worn without any
underwear.
Shaped bras for the youthful figure elevated, separated, and defined
breasts by using gathers, adjustable drawstrings, tucks, darts, and elastic.
1930s, The Great Depression
219