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Fashion The Definitive History of Costume and Style 2012

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Published by IKBN Peretak, 2021-04-19 03:21:57

Fashion The Definitive History of Costume and Style 2012

Fashion The Definitive History of Costume and Style 2012

FROM REVOLUTION TO FRIVOLITY 199

DESIGNER

CHARLES WORTH

Worth’s reputation as the father of haute 1860s Pauline, Princess Metternich, the wife of the △ VISITING CARD IN FANCY DRESS c.1860
couture—designer-led, custom-fit “high Austrian Ambassador to France was a customer. She Worth had the gift of self promotion and
dressmaking”—was well earned. He dominated introduced him to the fashionable French Empress helped turn a trade into an art form. The
the Paris scene for the entire second half of the 19th Eugénie. It was a short step to securing her patronage. first male style arbiter with international
century and made the city the couture capital. Shaping superstardom, his word was law.
the high-end industry we know today, Worth led a general Enduring values Customers deferred to him rather than
move in 19th-century Paris away from tailor-dressmakers the other way around.
toward designers whose creations bore their name. Worth’s creations included frothy ball gowns and outfits
combining taffeta, velvet, and his beloved Lyons silk, ◁ DEBUTANTE’S BALL DRESS
An Englishman abroad with intricate detailing such as wood beads wrapped in This satin gown with iridescent taffeta is
silk thread. Midcentury, his work featured the oversized decorated with silk roses and petals and
The initial irony was that Monsieur Worth was an crinolines for which the man and the era are so well accessorized with an ostrich fan. Worth's
Englishman. When family financial problems forced known. He pioneered the flat-fronted, bustle-backed skirt efficiency and talent with sumptuous
him out to work, he swapped his Lincolnshire home materials made him equal to the task
for an apprenticeship at London drapers Swan & silhouette that took over after the empire fell in 1870. of producing the 1,000 or so lavish
Edgar at the age of 13. In 1845 he moved to Paris to Other innovations included a knee-length tunic gowns that might be needed for just
Gagelin’s, a dress accessories shop where he made one imperial ball.
a major mark, winning a medal for worn over a long skirt, the shorter crinoline, ideal
a stunning embroidered train at for walking, and the gigot sleeve popular in the
the 1855 Exposition Universelle
in Paris. By 1858 he had late 1800s—one of many historical (in this case,
established his own maison Elizabethan) influences culled from National
with business partner Otto Gallery visits during his London years. Worth
Bobergh at 7 rue de la Paix. was first to show whole seasonal collections
in advance, to use live mannequins to display
Worth combined creative, garments, and to produce pieces that were
impeccably fitted and made copied in France and sold worldwide in
garments with astute business addition to exclusive one-offs. Concerned
sense, especially the canny cultivation of an about copyright issues, he pushed for the
aura of exclusivity. With a discreet gilt sign couture association that is still going today.
outside, his maison featured a series of After his death in 1895, House of Worth
enticing salons, including a mirrored one with and its values went forward under Charles
dressed wooden mannequins arranged so Frederick's sons, Gaston-Lucien and
that customers would compare their own Jean-Philippe, and beyond, taking in
dress unfavorably. glamorous 1920s cocktail and
evening dresses along the way
Against the backdrop of the heady before closing in the 1950s.
prosperity of Napoleon III’s Second Empire Worth's influence has been
(1852–1870), Worth's enterprise flourished. far reaching, from Poiret
His wife's relentless networking helped. By the to Bellville Sassoon
to Valentino.

TIME LINE 1838 Starts 1851 His designs 1857–58 Opens ◁ 1860s A period 1870 Second ◁ 1895 Dies in Paris;
apprenticeship at win prizes at London’s his own ladies’ of acclaim and French Empire House of Worth
Swan & Edgar, London Great Exhibition fashion business success—creates all ends. Splits from
on the rue de of Empress Eugénie's business partner continues under his
1845 Takes work with 1852 French Second la Paix evening and state Otto Bobergh and sons, making dresses
London silk mercers Empire begins—an wear from 1864 continues alone. such as this, worn by
1825 Charles era of wealth and Prospers with rich
Frederick Lewis & Allenby. Moves lavish dress American and renowned Parisian
to Paris to work at dress Russian clients beauty Countess
Worth born in Greffulhe
Bourne, accessories shop, 1860 1880
Maison Gagelin 1895
Lincolnshire
1840
1820

◁ ELIZABETH OF BAVARIA, EMPRESS OF AUSTRIA Court painter Winterhalter portrayed many of his royal sitters in Worth dresses, such as this tulle ballgown confection.

200 FROM REVOLUTION TO FRIVOLITY Small bergère
(shepherdess)
1870 –1879 straw hat

SOFT BUSTLES Veil hangs
AND FISHTAILS down at
the back
Fashions by the 1870s were softer and more delicate, with pastel
coloring and frivolous trimmings and decoration. Bodice Soft bustle
necklines were square, with exposed décolleté for evening. outline
Dresses had three-quarter-length sleeves with lace cuffs, or could
be sleeveless for evening wear. Aided by the sewing machine (now 1872
becoming a desirable acquisition for home use), fabric was draped and
layered around the hips, creating an overskirt with apron and panniers Pleated
that was supported in the small of the back by a straw or horsehair trim with
understructure, called a soft bustle. By 1875 colors were deeper, a more contrasting
streamlined shape was emerging, with a smoothly fitted bodice, and
the waist and hips were more defined. By 1876 dresses were shaped ribbon
in a Princess line (with an all-in-one princess petticoat), often with a
cuirasse over bodice. The upper fullness of earlier skirts had moved Each tier
lower at the back, forming a fishtail train that was delightful edged
to look at but complex to create and needed skill to manage.
with lace

Wedding dress This triple-tiered main skirt is
overlaid with 1770s-style polonaise overskirts,
with each layer outlined in a dark trim. The
bergère straw hat is perched jauntily on hair—
real or false—that is piled high on the crown.

SOFT BUSTLES Sleeves tight Bodice Shirt-style
on arms paneling chemisette
To support the fullness at the top of the skirt with bow tie
at the back, a framework known as a soft Swags Very narrow
bustle was worn. This could be made from of fabric Front button waist
a variety of materials, including meshed closure
horsehair, wadding, and straw, or even Sleeves looser
improvised with scrunched-up newspaper. toward cuffs
The example shown comprises covered
watchspring steel, half hoop cording for
the lower skirt, moire fabric, and a wavy
braided outline along the hem. It fastens
at the front of the body with buttons.

Moire fabric 1877
stiffened with

horsehair

Splayed Flounces edge
fishtail train fishtail train

Knotted
fringing

Soft Fishtail train This skirt has copious drapery, which Cuirasse bodice The cuirasse (from the French
bustle would have hampered movement. The train would for armor) bodice helped create a small waist. It
swish from side to side as the wearer walked and was aided underneath by a princess petticoat and
turned. A ribbon on the train’s end could be attached back-laced corset, which by now had steels and
to the wrist to lift the fabric for ease of maneuver. a front-opening spoonbill busk.

Self-colored Hat at acute High collar in Drop earrings
silk trim 45-degree angle contrasting fabric
Choker with
Decorative Traveling dress Ideal for heart pendant
basket walking, picnics, or traveling,
External pocket this tan outfit of heavy silk and Asymmetry in the
velvet from 1874 has a darker cross-over fichu
collar, cuffs, and underskirt,
and olive fringing. (scarf)-style collar

1874 Bodice
paneling
Hair in French
pleat decorated Artificial owers
with owers at waist

Deep lace cuff

1875

Ruby red signals
appearance of new

depth of color

Bronze outfit This beautiful bronze-brown Beginnings Elaborate
ensemble has a self-colored silk ribbon trim. of a train ruf es and
The blue buttons and blue hair ribbons ties
create an unusual color combination with
the bronze, a look specific to 1872–74. Tight-pleated
hem
Simple toque
Sleeveless Chenille
Decorative bodice fringing
ribbons cover
hook-and-eye Low Parisian style This up-to-the-minute 1875 design
closures bustle shows the new style from Paris. The bustle is more
restrained and the fishtail train makes an appearance.
Kid leather Evening gown This 1878 Hips are at their slimmest for 50 years, and skirts are
gloves dress in blue and white caught in around the knees, forcing a hobbled gait.
—colors reminiscent of Chinese
Fitted porcelain—has layers of BOOTS AND SHOES
sleeves tulle and lace at the front. It
includes the practical feature Higher heels began to alter the body’s
Marinière (marine- posture, tipping it forward slightly, which
style) cuffs of a dust ruffle that could be emphasized the bustle skirts and carried
removed and washed. through to the tilted hat. Heels were small
1878 (1½ in/4 cm) and stocky, and curved inward
Train at the back. Toes were squared off (as
shown here), rounded, or pointed. Most
boots were black for everyday wear, but
for weddings or balls, ivory satin or fine
kid leather was used. Elastic sides were
popular, using imported rubber, and uppers
were decorated with bows and tassels.

Parasol with Artificial ower Elastic sides
contrasting decorations make boots
lining easy to pull on

Walking suit This olive-green silk outfit has Satin could be Shoes
a long jacket, fitted to the body and flaring dyed different Boots
at the hem; the band collar is trimmed with colors
machine-made cream lace. The paneled
skirt is gathered up at the front. Cotton
balayeuse
dust ruf e

202 FROM REVOLUTION TO FRIVOLITY Ruched silk
applied to bodice
MATCHING TWO-PIECE
Concealed
BUSTLE hook-and-eye
SKIRT closure

Consisting of a tightly fitted bodice Suede or kid
and long, trained skirt, this two-piece gloves would
ensemble of striped, apricot silk displays have been worn
the fashionable silhouette and longer bodice of
1874–75. Skirts narrowed, and volume shifted Flat-fronted skirt
to the back to form a bustle. A bustle pad worn
under the skirt provided the support. This style
of skirt takes its inspiration from the 18th-
century polonaise and is constructed in a similar
way. Tapes attached to inside of the skirt allow
it to be gathered up at the back. The wearer
could also choose to loosen the tapes and have
the skirts long, achieving the look of the
alternative back and side views below.

BACK VIEW WITH BACK VIEW
SKIRT DOWN WITH SKIRT UP

SIDE VIEW WITH SKIRT DOWN

Decorative The bodice BUSTLE SKIRT 203
ruching on is boned for
extra support IN DETAIL
sleeves
Bodice ◁ RUCHING TO SLEEVES
Brushing braid narrows Strips of the silk have been
to waist ruched and applied as decoration
to the sleeves and bodice. The
Edged advent of the sewing machine
peplum enabled the increasingly
complicated decorations and
Volume of skirt trimmings fashionable at this
shifted to back time. The machine stitching is
to form bustle visible on the sleeves.

◁ FRONT OF PEPLUM BODICE
The bodice is fastened at the
center front with five metal
hooks and eyes for a close fit
around the narrow, corseted
waist. The bodice extends to a
short peplum, which is shaped
over the hips into a pointed
front and finished with a
ruched band of fabric.

Skirt gathered ◁ BUTTON DETAIL
up using tapes A pair of brown, fabric-covered
sewn inside buttons trim the center back
waist and mark the top of two
deep pleats, which splay over
the volume of the bustle. This
simple detail draws influence
from masculine tailoring and
anticipates women’s fashions
in the following decades.

Trained ◁ POCKET
skirt From the 1840s dresses began
to have pockets sewn into the
skirt. This skirt has an internal
pocket lined with glazed cotton,
a durable fabric suitable for
holding items. The lining
discreetly matches the tone
of the dress.

◁ HEM
This contrast binding, which was
known as brushing braid, was
used to finish the hem of the
skirt. It would have helped to
strengthen and protect the silk
as the train trailed on the ground.
The brushing braid could be
brushed to remove dust and dirt
at the end of the day before the
outfit was put away.

204 FROM REVOLUTION TO FRIVOLITY Coordinating
bonnet
1880 – 1888
Triple-
THE RISE AND FALL layered
OF THE BUSTLE cape collar

By 1880 there was no discernible bustle, and fishtail trains were rejected. 1880 Fan pleating
Cotton combinations—chemise and drawers—were worn under the main
outfit, and were supplemented by knit wool combination garments that Matching
combated a series of cold winters. An extremely tight, steel-boned corset secured parasol with
the small waist that was being increasingly admired and forced a rigid, upright
posture. Further boning reinforced the dress bodice. A new bustle shape pom-pons
gradually developed from 1881 – 83, this time stiff and angular. From
1883 – 87 the bustle grew, and stuck out at right angles, eventually Striped
tilting over into a chicken tail feather flourish before disappearing. ribbon
The majority of garments were now made by sewing machine,
and many fabrics were colored with synthetic dyes.

MOURNING Spanish promenade fashion Stiff collar French day dress This walking outfit
Contrasting silks and velvets, demonstrates superb use of controlled skirt
wools and silks, or light and drapery and contrasting trimmings: a neat row
dark colors were used of buttons, collar with alternating colors, and
effectively in exciting discrete fan pleating on the cuffs and hem.
combinations, and matching
accessories created a smart Deep-dyed Feathered
ensemble. Deportment—a colors fashionable cap tied
back as straight as a rod—was under chin
key to carrying off this style. across Europe

Half-mourning Mourning bonnet False vest
cap fronts

There was a strict etiquette for mourning 1888 Long
royalty and relatives. The fashion industry bodice
perfected the art of dyeing fabric black,
providing copious lengths of front
black crêpe and bombazine
fabrics, ribbons, bonnets, Pomegranate
veils, and feathers. motif
Department stores stocked
ready-to-wear mourning
outfits. Wool cloth was
advised since it absorbed
light, rather than
reflecting it.
Half-mourning
required gray,
white, and purple
to be worn in
specific time
frames.

Victorian Balayeuse dust Morning dress The pomegranate
mourning dress ruf e visible design on this skirt is particularly
identified with Spain. Eiderdown
feather petticoats were popular
in the cold winter of 1887–88.

Contrasting, THE RISE AND FALL OF THE BUSTLE 205
interior silk lining
Ostrich
feather to parasol

Smocked German day dress While this Very little
bodice sculptural wood engraving shows esh
contemporary fashion in black and
1882 white, as also seen in photographs of shows—
the time, fashion plates and surviving only face
dresses and accessories show the

range of colors actually worn.

Frogged Long, narrow,
jacket and restricting
daytime sleeves
Fabric Tightly
gathered over corseted
stiff bustle waist

1883

Gloves are always
worn outdoors

Tabbed bodice
splays over hips

Tiered
skirt

Three-color
check

Disposition patterning Attractive floral prints Fabric cut on diagonal This checked fabric is
or weaves à la disposition—with different kilted to one side. The diagonal stripe effect of
patterns in the same colorway, used together— the pleated underskirt is striking. Pleats needed
were popular. Forehead fringes appeared in careful laundering and ironing. Cleaning the fabric
high society, but were disallowed for maids. with solvents may have been an option.

Hair in new-
style topknot

Silk poppies
attached to

corsage

Ribbon detail Turned-down Large ivory
to shoulders coat-style collar or mother-of-
pearl fan

Matching wrist FANS Cockade face
bracelets protector
Fans were produced in huge
Overgarment numbers. They were the
falls into train perfect gift—as was Lady
Windermere’s fan in the 1892
Overskirt Oscar Wilde play of the same
name—and useful in a warm
Silk ballroom or theater. The early
owers 18th century language of the
fan was largely lost by the
Braid-trimmed late 19th century, but might
scalloped hem at least allow a female to signal
interest or otherwise to a
gentleman admirer.

Shoe
with bow

Ball dress This design from Madrid would Evening dress This Spanish dress and bodice Fan with mother-of-pearl
require a skillful dressmaker to swathe spotted are exquisitely embroidered. The trained sticks and guards
fabric over the hips, attach silk flowers, overgarment adds warmth and elegance. This
and make the rigid understructures of fashion plate, along with the three to the left,
whalebone and steel disappear. show the range of styles in Spain in a single year.

206 FROM REVOLUTION TO FRIVOLITY Shoulder puffs
Tight-corseted
1890 –1899 waist

HIGH RUFFS Gilt and
AND WASP WAISTS colored bead
embroidery
Women’s wear in the last decade of the Victorian era was characterized by high 1890 on net
collars, held in place by collar stays, and stiff steel boning in long-line bodices
and corsets. Mid-decade, tiny wasp waists were emphasized by the most Trained
enormous sleeves and pyramid skirts with smooth fronts, which had pleating concentrated overdress
at center back. In mainstream fashions, the ruff, corseting, padded sleeves, and cone-
shaped skirts consciously recalled Elizabethan fin-de-siècle styling. Ball dresses were
décolleté (had a low neckline), but for day wear barely any flesh was revealed below
chin level. Dark colors persisted but were challenged by a lighter palette anticipating
Edwardian pinks and creams. Colored stockings and high heels were popular. The use
of exotic bird feathers and even whole birds on hats had become such an issue that the
Royal Society for the Protection of Birds was founded, to campaign against any but
ostrich feathers being used in the future.

CAPES Dressed for evening The shoulder puff
heralded a new focus on sleeves. Petticoat silks
On trend: red were tin-weighted to make them sit properly,
and black and rustled as the wearer moved. Here,
delicate embroidery, worked on fine
net or gauze, overlays the skirt.

Leg-of-mutton Crescent Veil
sleeves “Diana”
headdress Pleated
blouse
Wasp
waist front

Moleskin and 1895 1896
feathers
Hourglass shape Warp-printed chine silk Spotted fabric for
Satin and gives this outfit a particular luster. Enormous, paneled skirt
velvet leg-of-mutton sleeves, bows along skirt seams,
a defined V shaping to the bodice, and Summer blouse and skirt This veiled hat would
Short, boxy capes replaced the 1880s “Elizabethan” ruff typify the fin-de-siècle style. have been secured with decorative hat pins that
dolman capes, once the bustle had pierced into the top knot of swept-up hair. The
disappeared. Silk brocade was popular ruff encouraged good deportment, always
for opera wear, to cover décolletage, and required in Victorian women.
might be trimmed with jet, French jet (glass),
lace, appliqué, braid, fur, or feathers. For
day wear, wool cloth capes trimmed with
braid or appliqué detail coexisted alongside
traveling jackets and full-length coats. They
were certainly easier to wear over the large,
leg-of-mutton sleeves of 1893–96. Black
and red were the most fashionable colors.

Lace Wide-brimmed hat HIGH RUFFS AND WASP WAISTS 207
above with ower trim
bodice Straw bonnet
Leg-of-mutton decorated with
Shoulder sleeves birds’ wings and
fanning artificial owers

1893 Cutaway High neck
“dress coat” for day wear
Lace detailing
appliqué Repeat
Lawn ower
ruf e
print
Daytime visiting This dress is clearly made Businesslike A new tailored style
all in one. The horizontal drapery masks subtle appeared in mainstream fashion, made Umbrella
hook-and-eye side closures. The skirt is given in wool cloth. Here, masculine vest,
decorative treatment with lace appliqué. Lace stiff collar, and triple braiding add up
also adjoins the high, stiff collar. to a stylish look.

Leg-of-mutton Stylish Tiered
sleeves narrow high collar skirts

from elbow Overcape

Puffed-out Double row
center panel of buttons

1898 1899

Satin skirt
fully lined
with pink

taffeta

Pink satin These sleeves are leg-of-mutton Traveling This skirt has characteristic 1890s Spring afternoon dress The Edwardian era
shape and the gored skirt has box-pleated detailing in its diagonal trim, and the checked is near, and the straight-fronted corset is now
fullness at the center back. The high-necked overcape has echoes of an epaulette shape in in evidence. This dress is made of delicate
bodice, trimmed with black velvet, jet, and lace, its squared shoulder line. The wool cloth cape printed silk, linen, or light muslin, with lawn
is attached to the skirt with hooks and eyes. is lined with fur. ruffles, and a wonderful tiered skirt design.

Velvet overdress has a BODICE AND SKIRT 208 FROM REVOLUTION TO FRIVOLITY
high collar with hidden
closure at front RECEPTION
DRESS

This elaborate house dress, designed by American
couturier Kate R. Cragmile in 1891, reflects the
change in women’s fashionable dress from
the exaggerated bustle of the 1880s to the rounded
hourglass shape of the 1890s. The dress features broad
shoulders on leg-of-mutton sleeves, a very narrow
waist, and a skirt gently widening to the hemline.
The contrasting colors and textures of deep velvet
and light-catching silk damask emphasize a tiny waist,
while the vest and overdress show the influence of
late 18th-century masculine tailoring.

The emergent leg-of-mutton
sleeve, full at the shoulder and
tapering into the cuff, grew
more exaggerated during
first half of 1890s, reaching
its fullest dimensions by
middle of decade

Vest-style panels
over the bodice echo
masculine tailoring, yet
create impression of a
narrow feminine waist

SIDE VIEW

Trained overdress IN DETAIL
in deep velvet
contrasts with ◁ JABOT
the lighter colors The decorative ruffle
of the skirt of lace at the neck—a
jabot—refers back to
the late 1600s and
draws attention
to the width of the
upper part of the
bodice, while also
concealing the
dress closure.

Overdress is ◁ SHAPED SLEEVES
cut shorter The leg-of-mutton
at the front sleeves are wide and
to resemble puffed at the shoulder.
a tail coat Volume through the
upper arms is amplified
Full-length oral by deep tucks into the
skirt gently inside seam.
widens to hem
◁ DAMASK SILK
Tabs at hem The patterned silk
reveal pleats dress fabric is a complex
of gold silk weave combining a
damask self-colored
pattern of silver-gray
roses overlaid with
a brocade of more
colorful roses in green
silk and gold thread.

◁ FULL BACK
Although reduced from
the exaggerated bustle
of the 1880s, the
fullness of the skirt
remains at the center
back, where it is pleated
into the waist. The dress
would probably have
been worn with a small
pad underneath.

◁ SMALL TRAIN
A fairly short gathered
train of golden silk
adds length at the back
of the dress, and is
framed by long velvet
panels resembling
a man’s tailcoat.

210 FROM REVOLUTION TO FRIVOLITY

1840 – 1900 Fine wool Stove-
cape pipe hat
FORMAL WEAR
FOR MEN Quilted cape Lambs’ wool quilting
Dress kept a gentleman warm when going
Gentlemen’s formal dress became more somber suit to the opera or paying an evening call.
in shape and tone in the mid-19th century. The The contrasting silk lining shows off
three-piece suit emerged in the 1860s, although 1845 fine hand stitching. Top hats were
it was still some years off becoming a uniform of business of beaver, felt, or silk.
respectability. Fibers for all garments were still natural,
but advanced machinery made more intricate weaves and Top hat lends
color combinations possible. The sewing machine helped stature
the ready-made trade, while tailors’ manuals with patterns
for varying styles of coat proliferated. In leisurewear there Leather
were color combinations and contrasts to delight: embroidered gloves
accessories, an intriguing glimpse of luxurious lining fabric, or
a jaunty pair of striped, checked, or plaid trousers. Stylish items
of day wear—top hat, cravat, and pantaloons—became reserved
for formal wear, while bowler hats and ties supplanted them for
day. Fall-front trousers gave way to fly fronts.

FAVORS 1840-70 Sleeves echo
women's full
Figured, checked, or embroidered bishop sleeves
with ribbon work, decorative wool and
silk vests added an accent of color 1868
to a man's outfit. Brides-to-be might
embroider them in canvas work for their Buff-colored
grooms. While the fronts were decorative, trousers contrast
the backs, covered by a jacket, were of
plain cotton with an adjustable strap. with dark coat
and vest
Figured fabric
Morning coat This coat and vest set
Flower garden embroidery Woven check is highlighted by light-colored

trousers. Heavy tweeds and worsted
wools, used here, were the materials
for winter, replacing the stout twilled

linen drill and cotton nankeen
trouser fabrics of summer.

Heels add a few
inches to height

FORMAL WEAR FOR MEN 211

Tall top hat Starched EXOTIC LEISUREWEAR
called a collar to
shirt While formal wear was understated,
stove pipe men could express themselves with more
Padded vest Attractive individuality and color when off duty.
Walking mottled wool They took the opportunity to show off
cane Silk lapels Bow tie striped fabric materials and garments imported from
and lining abroad or gathered on travels, whether
1854 out and about or indoors.

Shoes with Three buttons Padded robes were ideal
substantial in straight row for the businessman relaxing
at home, worn over shirt and
heels Double- suit pants or (right) a pair
striped band of matching pajamas called
of braid jama trousers. This striped
robe was woven in India
Handkerchief and features an Indian
in breast boteh (pinecone) motif
pocket repeat. A smoking
cap with tassel
Special occasion The lavender patterned and slip-on
vest, and blue-gray trousers and bow tie, leather slippers
complete with frock coat, suggest a wedding complete
suit. The outer side seam of the trousers has the exotic
fashionable braid. ensemble.

American robe
and smoking
cap, c.1845–50

New four-in-hand Straw boater Fine Tie cravat
tie cravat style popular from woven slips under
mid-60s wool turned-down
Aniline-dyed collar
solferino (purple) Starched Sleeves are
collar with comfortably cut
vest turned-down
wings 1875

1869 1870

Jacket Walking Trousers have
ends cane ample fabric
at thigh
Squared-off toe Round-toed
Lounge jacket The lounge jacket emerged to heeled shoe boots
around 1859 and was well established as
lounging or morning wear by 1869. Light- Three-piece suit with top coat Lounge suit jacket This jacket is worn with
colored trousers increasingly indicated This German morning suit has matching a tie cravat, velvet vest, and light-colored
casual dress, as did the straw boater. tailored reefer jacket, trousers, and trousers. The jacket edges are turned and
vest, with an overcoat in dashing stitched; earlier jacket edges were left raw
bronzed tan, a dye color favored in with firmly woven and milled cloth.
the 1870s. The materials are of superb
quality and the fit is expert.



FROM REVOLUTION TO FRIVOLITY 213

CULT OF

BEAUTY

After 250 years, Japanese isolation from the West during the
Shogun era ended, and the impact on Western fashion, art,
and culture was swift. Inspired by the display of Japanese art
at the International exhibition of 1862, members of the
Aesthetic movement (1862–1900 ) with its “cult of beauty”
embraced all things Japanese. E. Desoye opened a store of
Japanese curios in Paris and in 1875 Arthur Lazenby Liberty
sold Japanese goods at his store, Liberty and Co. on Regent
Street, London, alongside a comprehensive range of fabrics
and artifacts from the Far East.

Japanese prints based on conventionalized forms of the
natural world, such as flowers, birds, dragonflies, and
butterflies, along with free-flowing garments, appealed to
the bohemian style makers of London, in particular Aesthetes
such as Oscar Wilde and his wife Constance. Fashions such as
classic Greek gowns or “Athenes,” Japanese kimonos, Indian
pajamas, and embroidered coats from China and Japan
created an immediate contrast with the established,
traditional Victorian dress of corsets, crinolines, and bustles,
and a restricted and structured silhouette. At the Divan
Japonais nightclub in Paris, fans and silks festooned the walls,
and customers were attended to by waitresses dressed in
kimonos. In 1876 Claude Monet painted his wife wearing
a kimono in a painting entitled “La Japonaise.”

One should either be a work of art,
or wear one.

OSCAR WILDE, 1894

◁ JAPANESE BEAUTIES
Facsimile of a chromoxylograph by Wilhelm
Greve after Katsukawa Shunsho, 1776.

214 FROM REVOLUTION TO FRIVOLITY

1870 – 1900 Contrasting trim

SPORTSWEAR FOR
THE NEW WOMAN

Women’s day wear was adapted for sports from archery to croquet and Dress worn over
boating to tennis, while still preserving a fashionable waistline, sleeve crinolette frame
shape, and skirt fullness. Drawers worn under petticoats enabled
freedom of movement without fear of embarrassment. Knit underclothing or soft bustle
such as Dr. Jaeger’s sanitary underwear, available from the mid-1880s, cotton
combination garments that avoided bulky waists, and specifically designed Looped-up
sports corsets were a boon. The breathable cotton-mesh fabric Aertex was apron skirt
invented in 1888, and less restrictive corsets were made that incorporated
this mesh to allow better air flow. Women supporters of the Pre-Raphaelite Copious gathering
and Aesthetic movements had already stopped wearing corsets and wire made easier with new
understructures. While the new woman spurned fancy fabrics, burgeoning
department stores sold silk brocades and plush velvet gowns in joyful colors, sewing machines
and society women found themselves with an abundance of choice.
Dust ruf e for
ARTISTIC AND AESTHETIC muddy walks

Bustle dress This sensible wool dress in brown,
c.1870–75, was suitable for country walking,
traveling, croquet, archery, and picnicking, all
popular female pursuits. Going-away outfits
were often of a similar style and color.

Standing shirt Stylish
collar with tie ribboned
straw boater

Nipped-in
waist

Jacket tails Riding Leg-of-mutton
crop with sleeves
silver top
Squared
tennis Tight
racquet corseting

Women in artistic circles, such as the Full skirts for Gored
Pre-Raphaelite muse Jane Morris, flouted side saddle skirt
rigid dress conventions, pioneering a freer
style. Dress reform societies also campaigned Riding habit Made of soft wool, this jacket Lawn tennis dress Although earlier tennis dresses
for healthier, less structured forms of dress. has a long row of tiny buttons to fasten tightly (c.1875–85) had aprons with pockets for the balls,
Their dress styles recalled medieval (pre- over a corset. Riding tails sat neatly upon late this 1897 fashion advertisement for the new season
hooped skirt) days. They borrowed relaxed 1880s bustles. The top hat perches high on offers little concession to sports. Punch magazine
styles such as the early sack back, in which the crown on frizzed hair. joked that women should have a handicap.
fabric fell unfettered from nape to hem.

SPORTSWEAR FOR THE NEW WOMAN 215

Hat with Sleeves for
stuffed bird bicycling follow
fashionable shapes
Tailored Contrasting bow
jacket Striped under
bodice
Wool jacket
worn over
wasp-waist
corset

Silk cummerbund
defines waist

Gored skirt Apt “racing Bifurcated
has fullness green” choice skirt (split into
at the back of color
two parts)

Matching
gaiters

The races Dress for spectator sports Bicycling suit This tailored jacket was worn with a
evolved as a relaxed version of day wear, modest patented bifurcated skirt, for ease when
in sympathetic fabrics and colors, c.1890. bicycling, c.1896–98. More daring knickerbockers
The focus on large hats on race days were also worn by some women. Cycling gaiters
continues to this day. and a veiled boater would complete the outfit.

Dark straw
boater

Braided Draped Leg-of-mutton
sailor stripes overskirt sleeve

Separate Skirt
belt pleating

Bloomer-style Gored
leggings skirt
resemble
knickerbockers

Bathing dress Sailor suits influenced bathing Nautical Blue and white striped fabrics as well as Walking suit Tailored by the French designer
dress, hence the sailor collar and stripes. This children’s sailor suits gave a nautical flavor to dress, and Jacques Doucet, this no-frills linen suit, from
wool serge garment, c.1900, is an all-in-one, were worn for regattas, yachting, boating, and seaside c.1894, reflects a move toward the sobriety
like combination undergarments. There may promenading. The draping and soft vertical pleating over of men’s suits. Women now joined men in
have been a modesty skirt originally. the bustle of this dress from 1885–88 suggest informality. hill walking and mountain climbing.

216 FROM REVOLUTION TO FRIVOLITY Wide, waterproof Double-breasted
collar matches vest
1837 – 1900 large cuffs
Multicolored,
MEN OF ACTION Jacket cut checked lining
loosely
While men’s suits settled into sobriety and uniformly dark
coloring, their leisurewear for sports and country pursuits
became more flamboyant and revealing. Garments were
adapted for the purpose of health-oriented exercise, using stretchy
materials such as jersey knit. Drapers who supplied cloth and
ready-to-wear shirts began to focus increasingly on sportswear
for pursuits such as tennis, boating, mountaineering, and golf. Men
wore plus fours for golf from the 1860s. From the mid-century French
companies and Britain’s Aquascutum and Burberry developed lined,
twilled cotton fabrics for waterproof outerwear for the “huntin,’
shootin,’ fishin’” fraternity. Shepherd plaid, a black-and-white
check, was popular in the 1890s. Sports clubs and activities brought
industrialists, military men, artists, and writers together, in pursuit
of healthy bodies to fuel the mind. J.M. Barrie, author of Peter Pan,
even had his own cricket team from 1887.

Felt hat with Paletot jacket The paletot for men hung loosely
curled brim from the shoulders and was sleeved. Checked
and tartan wool linings, as in this example of
Side parting c.1838, provided warmth for country clothing.
fashionable They later became a fashion statement.

1865-70 Lounge or Norfolk coat
worn open to reveal
Lightweight high-buttoning vest
shirt
Silk or cotton Short sleeve
jersey-knit with cuff

undershirt with Shorts have
side buttoning a drawstring
waist
Breeches
often worn
with buttoned
leather gaiters

Flat shoes Cycling suit The Earl of Albermarle, president Shorts
of the National Cyclists’ Union, rides a tricycle, above
Tennis clothes “Whites” were established c.1880. He wears a wool three-piece suit knee
for tennis and cricket as early as the late 1860s. consisting of single-breasted jacket, vest,
This tennis outfit consists of a lightweight linen and breeches that finish just below the knee. Rubberized
jacket, now called a blazer, with trousers, footwear
cotton shirt, and a cap.
Team sports Men undertook football, rugby,
and rowing in variations of undershirt and
drawers. This sportsman, c.1890, may be a
member of Cambridge University’s rowing team.
His short-sleeved undershirt precedes the T-shirt.

Hunt dress This British cloth hunting jacket Straw MEN OF ACTION 217
of 1868 is buttoned high with five buttons and boater
teamed with breeches of Bedford cord. Hard hats Wide-brimmed
(jockey caps) and club buttons were also worn for Matching hat shields face
the hunt. Cravat pins bore images of hounds. tweed jacket
from sun
Top hat Fly front to
breeches Large
mustache

Blazer jacket and
vest over shirt
and tie

Starched
shirt cuff

Patterned Knickerbockers All fabrics Breeches
silk cravat worn for sports exquisite button
at knee
Leather gaiters Gaiters Buttons
with buckle over boots at knee Riding
and strap boots

Shooting outfit This man from 1868 Superb cut The 7th Lord Vernon Riding gear for Japan This man,
wears knickerbockers (wide breeches), served under British Prime Minister c.1890, wears linen, which was cool,
with a shooting jacket. Tailors later Gladstone. He was painted in 1891 lightweight, and washable. London’s
shortened the jacket and added a belt. wearing a sports jacket, vest, and Army and Navy Stores supplied outfits
The suit was also ideal for country walks. riding breeches on his country estate. to British expatriates.

Red worn THE LEOTARD
for hunting
Prussian Eugen Sandow became a celebrity of British music
Closure on halls in the 1890s as a bodybuilder, extolling the virtues of
shoulder weight-bearing exercise on the physique. He wore only a
stretch-fabric leotard. The garment was named after Jules
Whip was Skirted body Léotard, a trapeze artist. Léotard
an essential for modesty himself wore what he called
accessory a maillot, but in 1886, some
Integral cotton years after his
Top boots interlock leggings death, the term
“leotard” was
Bare lower legs coined for the
skin-tight
Bathing costume Light-colored edgings stretch garment
and/or horizontal stripes characterized jersey he had made his
knit costumes that stretched to fit a range of own. The leotard
sizes. Around 1900, bathing suits could even could be long or
be rented on the beach. short sleeved, with
a low or high neck.
Sandow wore his
with a belt and
gladiator-style sandals.
Earlier sports such
as pugilism (a form
of boxing) had already
seen men bare to the
chest, wearing only
light-colored breeches.

Strong man Eugen Sandow

218 FROM REVOLUTION TO FRIVOLITY Feathered Checkered, padded
headdress to sleeves
1800 – 1900 match mantle

THEMED Elizabethan- Slashed
COSTUMES style bodice jerkin

Themed costume parties enabled the late Georgians and Striped scarf Padded
Victorians to have fun with dressing up. Like a game of charades, worn as sash breeches
partygoers had to guess who their fellow guests were dressed as. Dancing
Esoteric costumes absorbed influences from history, mythology, theater, Floral design pumps
literary characters, and the Orient, reworked by dressmakers in
imaginative and extravagant ways. Some partygoers wore costumes Eastern Masque costume This couple from 1803 are in
that family members had brought back from abroad, or retrieved turban masquerade dress, with eye disguise. The woman
treasured ancestral outfits from the attic. Others were inspired by wears an exotic Middle Eastern sash and the hem
sources such as Arden Holt’s 1887 catalogue of Fancy Dresses Described, of her dress is hand embroidered. He wears a Late
which was sold through Debenham and Freebody’s the Tudor-style jerkin and padded trunk hose.
department store. These featured themed costumes
as diverse as a foppish Incroyable, a witch, and a hornet.
Natural materials such as beetle wing cases and butterfly
wings, and even live fireflies in net bags, were used
to create a suitable macabre or exotic atmosphere.

ROYAL DRESSING UP Neck scarf

Patka Early Victorian
(waist sash) ringlets

Looped-up, bizarre Standing
(patterned) silk collar

brocade overdress Unfastened
Ceremonial over bodice
weapon

England’s 1897 Devonshire House Ball Buskin-type Pajamas Lace-
was themed around allegorical or historical boots gathered edged linen
costume pre-1820. The Duke of York went as at ankle handkerchief
the 3rd Earl of Cumberland, with embroidered
Genoa velvet pourpoint, sleeves and mantle, Middle Eastern This 1830 figure wears a Persian- Antique brocade The Eglinton Tournament of 1839
steel gorget (plate armor collar), crimson style, knee-length vest of metal thread over a white was a romantic extravaganza with medieval jousting
velvet trunks, high boots, and felt hat with lawn shirt and under a rich blue tunic trimmed and banquets. This lady, shown in her costume for
three feathers. The Duchess was Marguerite with gold braid. Vandyking (zigzag borders) often the Scottish event, wears a Queen Henrietta Maria-
de Valois, in pale blue satin, with a Medici old indicated a themed costume in the 19th century. style dress with a silk brocade overdress.
lace collar, and copious pearls and diamonds.

Cavalier hat THEMED COSTUMES 219
with feathers
Skullcap with
devilish horns Ribbon
and feather
Reticella lace headdress
collar and cuffs

Powdered wig
like those of
c.1775–80

Male costume This figure from Laced
1834 is dressed as Charles I, as seen stomacher
in portraits by Anthony van Dyck.
The open-sleeved doublet reveals

a linen shirt. It is worn with a
cloak and knee-breeches.

Slashed jerkin

Petticoat Open gown
breeches with with petticoat
yards of ribbon
Matching
Lace-trimmed fabric puff
boots over
white hose and trim

Archetypal An amalgam An 1831 fashion plate shows a late
devil’s cloak 18th-century-style costume. It combines the 1760s
open gown with petticoat and the early 17th-century-
Spiked horns on style bodice with a wide neckline and lace collar,
headdress which also mirrored fashions of the early 1830s.

Snake DOLLY VARDEN STYLE
necklace
This look mimicked the 18th-century
Gilt corsage bergère (shepherdess) style, with its straw
with devil mask bonnet and looped-up polonaise skirt over
a quilted petticoat. Dolly Varden was a
coquettish character in Charles Dickens’s
Barnaby Rudge, published in 1841 but set
in 1780. This music sheet cover depicts a
woman in a Dolly Varden style costume.

Double layer Skintight,
of stiff, pleated Tudor-style
underpetticoats hose

Train of heavy, Slashed Dolly Varden
spotted, looped- leather shoes
back fabric
Mephistopheles The devil character in Goethe’s
Diablesse This 1885 French costume for a female Faust is the inspiration behind this French costume.
devil is dictated by contemporary fashion, with its The look was popularized by Sir Henry Irving, who
tight corseting, bustle-shaped skirt, and high heels. played him in a similarly vivid red costume at the
The short petticoat length revealing the calves was Lyceum Theatre in London from 1885–88.
extremely daring.



LA BELLE
EPOQUE AND

THE JAZZ AGE

1901–1928

222 1901–1928

LA BELLE EPOQUE
AND THE JAZZ AGE

Simplification and in particular the idea that "less is more" 1901–03 1904–07 1908–10
governed the development of fashion in the early 20th century.
The old way of dressing was only abandoned after a final 1902 1908
extravagant flourish, which found shape in Paul Poiret’s colorful Mannequin parades are
Orientalist designs and Lucile's gossamer creations. The beginning of J.C. Penney, the American introduced at the House
World War I accelerated the trend toward less restrictive clothing, as retail magnate, opens his of Lucile in London, and
many women became used to wearing practical uniforms. After the first department store in become very popular.
War the popularity of elaborate hairpieces and many layers of flimsy Wyoming.
fabric diminished in favor of practical, shorter skirts and sweaters. 1909
The figure of the static, hourglass woman was being replaced by the Bobbed or short hair for
energetic, boyish “flapper.” Always on the move—either dancing the women is introduced to
night away or racing around in an automobile—the new style Paris fashion.
represented youth, fashion, and fun.
C.1903 1910
The suntan era
The straight-fronted corset, Mariano Fortuny patents his
Men and women increasingly revealed their bodies, as clothes shrank also known as the swan-bill, pleating and dyeing process.
and became less structured. The fashionable set went to Palm Beach S-bend, or “health corset”, is His long, clinging sheath
and Malibu in the US, or the Riviera in France, to acquire a suntan and popular from the turn of the dresses, known as Delphos,
to flaunt their beach pajamas and summer suits. Different outerwear century until the 1910s. are made with a single,
also meant changes to previously restrictive undergarments—fewer It forces the torso forward vibrantly colored piece of silk.
pieces of less-rigid underwear became possible. New designers were and makes the hips protrude, Devotees include stars such
paticularly adept at picking up the trend toward increased movement removing pressure from the as Eleanora Duse, Isadora
and practicality in fashion. French designers Chanel and Patou both abdomen and creating an Duncan, Cleo de Merode,
started their Houses just before World War I, and promoted clothes for S-shaped silhouette. and Liane de Pougy.
the active woman, in which knitwear featured prominently.
◀ A straight-fronted ▲ Women work in a factory 1910
New icons corset worn under that makes rayon underwear Paul Poiret designs a range
the dress provides of loose-fitting, Oriental-
Royalty and aristocracy still played a significant role in setting trends. the distinctive 1905 inspired dresses, paving
In Britain, Prince Edward initiated and popularized new styles. S-shape silhouette the way for modern dress.
Following his investiture as Prince of Wales in 1910, the 16-year-old Artificial silk made from
heir to the throne soon became a major fashion icon, accelerating viscose (known as “rayon” ▼ A Paul Poiret creation
the move toward less structured garments. He also popularized after 1924) is first sold designed for a costume party
the use of garments such as Fair Isle knitted vests and plus fours commercially in the UK. It
off the golf course. With the rise of Hollywood during the second reaches the US in 1910.
decade of the century, movie stars such as Douglas Fairbanks,
Rudolph Valentino, and Louise Brooks began to supplant
high-society figures in setting trends.

1906

Madame Paquin introduces
the empire-waist dress in
imitation of the fashion of
the Regency period.

TIME LINE 223

The designers have forgotten that there are women
inside the dresses…Clothes must have a natural shape.

COCO CHANEL, 1928

1911–13 1914–16 1917–19 1920–22 1923–25 1926–28

1913 1920 1923

The first modern brassière The 19th Amendment to the The Broadway show Runnin’
is patented by New York US Constitution gives women Wild includes the popular tune
socialite, Mary Phelps Jacob. the right to vote. Some “The Charleston.” It becomes
Old-fashioned corsets are believe that the women’s a dance craze, requiring
no longer suitable to wear rights movement affected low-waisted dresses with
under new lighter, less fashion, promoting fullness at the hemline to kick
formal garments. androgynous figures and up the heels.
the death of the corset.

1913 ▲ The Munition Girls by English 1924 1926
painter Alexander Stanhope Forbes The diplomatic visit of
The tango arrives in most Edward, Prince of Wales to The ideal haircut for
European capitals. Jean 1914 the US popularizes a kind showcasing cloche hats—the
Paquin designs gowns to be of short breeches for fashionable Eton crop—is
worn for dancing the tango, World War I begins, ushering men—plus fours. first mentioned in The Times.
which are shown during in an era of darker colors and It is popularized by Josephine
“dress parades” at popular simple cuts. Women take ◀ Plus fours were four inches Baker, an African–American
“Tango Teas” held in London. over men’s jobs, accelerating longer than the traditional expatriate singer, dancer, and
the trend toward practical knickerbockers worn by men entertainer, who becomes an
garments. overnight sensation at the
1925 Folies Bergère music hall.
Fashion designers make up
▼ Tango shoes are designed 1917 a large number of the artists
with crisscrossing straps who display their luxury
Invented by Giden Sundback wares at the “Exposition
in 1913 the zipper is finally Internationale des Arts
patented in 1917. It is first Décoratifs et Industriels
used for closing rubber boots Modernes” in Paris, which
in the 1920s. gave art deco its name.

1914 1920
The Prohibition Era begins in
Burberry is commissioned the US, but is largely ignored
to adapt army officer’s coats by fashionable young men
for the trenches. The trench and women of the time.
coat is born. “Flappers” dance the night
away to jazz tunes at illegal
1913 ▶ Print advertisement speakeasies. ▲ Stylized poster portrait of
Coco Chanel opens a for military clothing made fashion icon Josephine Baker,
boutique in the French 1922 by Jean Chassaing
seaside resort, Deauville. by Burberry Howard Carter and George
Herbert, 5th Earl of ◀ Dancing the Charleston in
▼ The Chanel logo soon 1915 Carnavon, discover the tomb cloche hats atop Chicago's
becomes established Fashion magazine La Gazette of Ancient Egyptian ruler Sherman Hotel
du Bon Ton shows full skirts Tutankhamun. Fashion
with hemlines above the designers are inspired to
ankle. They are called use motifs from ancient
the “war crinoline” by cultures in their creations.
the fashion press, who
promote the style as
“patriotic” and “practical.”

224 LA BELLE EPOQUE AND THE JAZZ AGE

1901–1914 Silk top hat

SUITS FOR CITY Dark bow tie
GENTLEMEN
Double Albert
watch chain

The turn of the century did not herald major changes to the three-piece 1901
suit, although some styles were gradually replaced or began to be used
for different occasions. For the day the black frock coat with its long,
straight skirt, worn with black trousers, was the most formal option. It was

followed by the cutaway frock (“morning coat” in the UK) with its sloping

front, which could be worn with matching or contrasting trousers.

The lounge suit, originally country wear, was now worn Silk top hat Trousers of
in town. In the evening options gradually expanded as same material
“tails” (tailcoats) were joined by tuxedos (tail-less dinner
as coat

jackets), at first only considered appropriate for informal

dinner parties. More formal attire demanded the stiff

collar, available in several shapes. Men had a wide choice

of accessories including canes, umbrellas, a variety of hat Large Frock coat A young Winston Churchill wears a
styles, cravats, bow ties, watch chains, and tiepins. ower for single-breasted black frock coat with customary
silk-faced lapels. His top hat and cane indicate
Tiepin buttonhole this is a formal outing—they were beginning
to be associated only with special occasions.
ROYAL FASHION LEADER

Waisted Felt top hat
silhouette for day wear

Detachable
stiff collar

Narrow
waist

1910

Cane Tightly rolled
umbrella
King Edward VII had become a male Highly
fashion icon when he was still Prince Albert Contrasting polished
of Wales, popularizing the Norfolk jacket, the white sock shoes
Homburg hat, and the Albert watch chain.
The king also lent his name to double- Morning coat The very dapper Lord Lounge suit Unusually the Duke of Roxburghe
breasted frock coats, which he preferred. Chesterfield wears his morning coat wears a lounge suit, rather than morning coat, to call
The unusual closure shown here might have with white vest, shirt with high stiff collar, at Buckingham Palace. A waistcoat slip, a stiff cotton
had more to do with his increasing girth than striped cravat, and prominent buttonhole strip attached to the neckline of his vest, gives the
with any fashionable considerations. (the flower worn on the lapel). illusion of a second vest worn beneath.

SUITS FOR CITY GENTLEMEN 225

Bowler or Relatively low, Fedora was a New suit Toward the
derby hat silk top hat new hat shape end of the first decade
suits had a high waist
Mustaches Striped shirt Stiff wing Notched and flared out toward
slowly went with stiff collar lapel the hips. Jackets were
out of fashion wing collar long and trousers narrow
to display fancy shoes and
Fine Unusual color socks. This suit was advertised
pinstripes for vest by the Parisian High Life Tailor.

1906 Binocular Stiff collar with
case round edges
Narrow
trousers with 1909
front crease
Frock
coat

Tapering
trousers

Half boots

At the races Major Loder’s binocular case indicates Blue vest This gentleman wears a top hat,
that he is at the races. The racehorse owner sports a frock coat, and gray-striped trousers with front
double-breasted pinstripe suit, yellow vest, and cravat. crease and cuffs. Stiff wing collars were the
A handkerchief tucked nonchalantly in his breast correct choice for frock coats, but gentlemen
pocket and a cane complete his ensemble. could choose between cravats or bow ties.

Black top hat with Shiny, black
grosgrain ribbon top hat

Stiff shirt front

Silk lapel

Opera cape
with deep lapels

Cane, held
casually

1913

Trousers with Cane Trousers taper
front crease toward ankle

Front crease Cuffs

Pumps (heelless Black pumps
shoes) would worn with black

normally be worn silk stockings

Tailcoat The somewhat ill-fitting tailcoat of this Evening wear This idealized version of a Dainty shoes
American gentleman suggests that it might have suave gentleman in evening wear shows him
been borrowed for a special occasion. Black vests correctly accessorizing his tailcoat with a white
were an alternative to the more customary white vest, white bow tie, a large opera cape, top
until the middle of the century. hat, cane, and gloves.

226 LA BELLE EPOQUE AND THE JAZZ AGE Flat cap Formal
wing collar
1901–1914 Tweed This gentleman sports a Norfolk
jacket, made fashionable by the Prince Leather golf
SPORTS AND of Wales in the 1860s. A popular part of shoes
COUNTRY golf attire, it was originally developed for
shooting. It was always single-breasted,
with box pleats in the front and back, and
a belt or half-belt.

Garments initially developed for sportswear were often modified Front box pleat
or appropriated for mainstream fashion. The most popular
example from the male wardrobe were knee breeches of various 1900
widths and shapes called either knickerbockers, apparently after the
garment worn by 17th-century Dutch settlers in America, or plus fours Patch pocket
that extended 4 in (10 cm) below the knee. Before World War I knee
breeches were rarely seen away from the shooting ground or the
golf course. Now they formed part of smart suits worn in town. Other
garments that were used for sports were cardigans for tennis, cricket,
and baseball as well as increasingly for leisure wear, and thick, wool
sweaters seen on motorcyclists and skiers. Wool sweaters were also
popular with fishermen—work wear being another source for fashion
innovation. Sportswear remained modest, however, and the male body
was mostly hidden except at the beach where male swimsuits became
increasingly revealing, although they did not shrink into mere trunks
until after World War II.

Leather cap, worn Knickerbockers
with goggles

Thin shoulder
straps

Thick, wool
sweater

Gauntlets

Lower part often Thick, wool socks
in two layers
1909
1911

Wool swimwear The marathon swimmer Long, leather
S.S. Nichol wears an all-in-one swimsuit, probably gaiters
made of heavy, machine-knit wool, which lost its
shape when wet. Nonprofessional male bathers Leather gaiters The British racing driver Oscar Godfrey
usually wore short trousers with a separate tank top. poses with his motorcycle during the British Motorcycle
Race Club Trials at Brooklands, England. He wears very
long gaiters (leg coverings that fasten over his shoes and
stretch up to his knees), probably over knickerbockers.

Flat cap SPORTS AND COUNTRY 227

Loden jacket with Bowler-shaped Peaked cap with
practical pockets hat with feather coat-of-arms
decoration of the county
Thick socks worn of Middlesex
over knickerbockers Cricket style Other than the cuffs
Special on his pants, and maybe their high Soft shirt collar
cycling waist, there is not much in Frank
boots Tarrant’s cricket gear that
suggests it is from the early
20th century. A personal
touch is provided by the
use of a tie as a belt.

1905 White annels

Short trousers,
probably own design

Knee-length
wool socks

Sturdy hiking
boots

Knickerbockers For athletic pursuits, such as Loden Franz Joseph I, Emperor of Austria, wears a Cuffs
cycling, knickerbockers were acceptable wear, but jacket made of loden—a thick, waterproof, wool cloth.
a shirt and tie were still required. Vests could be Originally used by peasants, similar jackets, usually SKIING
dispensed with. Other markers of casual dress were fastened with horn buttons, are still popular particularly
the flat cap and wide belt. in southern Germany, Austria, and the Tyrol. This 1904 poster for a French resort
demonstrates that the vogue for skiing
Baseball cap depended on direct trains from Geneva
and Paris. Initially skiers wore multiple layers
Soft collar worn of everyday clothes. It was inconceivable
without tie that women would wear anything else but
skirts. Specific clothing for the sport was
Interlocking developed only after the war.
NY—New York
1913 Yankees logo

Fully fashioned,
slightly gathered

sleeves

Knickerbockers

Leather shoes Trousers Chamonix ski poster, 1904
with cuffs
Baseball cap Ray Caldwell, a famous pitcher
for the New York Yankees, is shown in practice White shoes—
wear: knickerbockers, a roomy, wool cardigan, probably canvas
and a peaked cap. His gaiters might have been
in his team’s color. Cardigan Otto Froitzheim wears a long, white
cardigan edged in a contrasting color during
the tennis world championships in France in
1913. This kind of outfit would not be seen off
the tennis court until after World War II.

228 LA BELLE EPOQUE AND THE JAZZ AGE Small collar

1900 –1914 Smocking
effect at top
SIMPLER creates fullness
SILHOUETTES
1900
While the period between 1900 and World War I saw a great
transformation in women’s silhouettes, certain aspects were slow to Triangular inserts
change. The fashionable, wealthy lady was still expected to change create fullness
outfits several times a day, and her body continued to be molded into the

desired shape by rigid corsetry. There was, however, a gradual shift from a curvy,

hourglass figure—with its emphasis on a tiny waist—toward a more tubular

outline. The practical tailor-mades (suits) that had been introduced in the

previous century remained fashionable and heralded the move toward

simpler garments. Turn-of-the-century ribbons and lace, and

ruches and pleats were slowly discarded to reveal not only

a more pared-down style but also women’s feet. High lace
collar

LINGERIE Lapels Shirt and waist This striped cotton skirt and waist
(blouse) might look relatively informal but would
Flimsy, soft, and highly decorated chemises Sleeve cuffs have been worn over body-shaping undergarments
and camisole-and-underpants combinations decorated to produce a narrow waist. The vertical pleats of the
were worn underneath rigid constructions with button blouse create fullness around the bust.
that molded the body into the fashionable
shape. The flat-fronted corset induced the Mannish Hat with
“S-bend” with the upper body pushed tailoring oversized bow
forward while the hips were thrown back. decoration
Corsets left the busts largely unsupported
so that bust bodices and a variety of bust Open-
improvers had to be enlisted to create collared
the fashionable, impressive “monobosom.” blouse

Toward the end of the first decade Single
corsets slid down the body, shortening button
above the bodice and lengthening below. fastening
Gradually, women were allowed to stand
upright again.

1908 1910

Wrap skirt Long
effect columnar

skirt

Skirt with
narrow
pleats

House of Creed This French house began as a Ship shape For travel aboard a liner, two
tailoring business in London in the 18th century young Americans wear loosely fitted jackets
and specialized in riding habits and tailor-mades. with straight skirts. This new look was more
This suit shows the move away from the S-shape comfortable and practical than the narrow-
silhouette toward a more tubular outline. waisted dresses of the preceding years.

Straw hat with Promenade dress Although Straw hat worn SIMPLER SILHOUETTES 229
ribbon and the V-shaped ruffle of the bodice at jaunty angle
HATS AND SHOES
ostrich feather mimics the low décolletage of Fabric insert for
trimming evening dresses, this delicate fake décolletage While some women favored small, modest
hats, others wore huge creations decorated
Fans still creation covers the entire body. It S-bend with ribbons, flowers, and feathers. Hats
popular and was made by the House of Drécoll, floated on elaborate coiffures created with
which was opened in Paris in 1905. the aid of transformations (hair pieces).
very large With these lavish trimmings, occasionally
Lace Ruf es give incorporating entire birds, large hats had
1902 decoration the illusion of to be kept in place with long and often
elbow-length highly decorated hat pins.
Narrow skirt
ends in sleeves Hat ribbon
echoes bow
short train 1905
at neck
Parasols helped to
conserve fashionable

pale complexion

Straw hat

French daydress This confection accentuates Hat with Ostrich
the fashionable S-bend posture and emphasizes feather feather trim
the narrow waist and “monobosom.” While the
skirt is relatively plain, the bodice remains High lace collar Hat with feather
elaborately decorated. For day wear, women could choose
between practical and sturdy laced or
Soft hat with buttoned ankle boots and shoes. Heels
plumage returned to a manageable height and were
usually of the curved “Louis” heel type.
Deep turned- Sash made Straight-sided, stacked leather “Cuban”
back cuffs of same fabric heels became popular toward the end
of the first decade.
Long gloves as blouse
stretch to elbow- Ankle boot with Louis heel Buttoned ankle boot
Jacket hemmed Skirt loose
length sleeves to hip length around hips Laced shoe

1913 Flowered silk

Slim-fitting skirt Narrow
knee area

Shoes or boots Shoe buckles
with Louis heel reminiscent of

Pour le Matin This tailored French morning 18th century
suit for spring 1913 features a prominent high
waistband and asymmetric button fastening. New silhouette This ensemble was
The skirt takes the newly fashionable slim recommended for vacation traveling wear. The
column shape, narrowing to the ankles. skirt is relatively loose but narrows toward the
hem where it allows a glimpse of the wearer’s
shoes and stockings—a new focus for decoration.

230 LA BELLE EPOQUE AND THE JAZZ AGE

1901–1916

WOMEN IN ACTION

Until World War I women’s sportswear followed the fashionable Leg-of-mutton
silhouette and included garments that could also be worn in other sleeves
contexts. The “tailor-made” (a suit), and the shirtwaist (simple
blouse) and skirt combination were often adapted for sports. For bicycling, Tie often worn Divided skirt
hiking, and fencing, women could wear divided skirts or bloomers, provided by female tennis gathered
they covered their legs with high, laced-up boots or gaiters. Sportswear players and golfers below knee
usually had minimal surface decoration and was often
paired with a manly cravat and flat cap. Even when Bicycling The divided skirt is the only really
playing tennis or bicycling, women wore corsets, but practical part of this bicycling outfit from just
these were often smaller and more lightly boned than before the turn of the century. Shorter corsets
usual. The knee-length dresses worn over bloomers for were sometimes worn for sport.
bathing gradually became shorter, but continued to be
worn with dark stockings.

Tennis Dora Boothby, winner of the ladies’
singles title at Wimbledon in 1909, is wearing

a corset with her white shirtwaist and flared
skirt. White canvas shoes were popular for
tennis with men and women.

Veil drawn Naval captain’s
back from face cap

Very narrow Marine
waist telescope

Sleeves follow
fashionable
silhouette

Tent-shaped Long, double-
coat breasted jacket
with matching
Motoring Most early cars were open, and skirt
to travel comfortably the entire body and face
needed protection. Clothing included a long coat Laced shoes
of light-colored fabric called a duster, goggles, and a hint of
and motoring bonnets or veils to shield the face. ankle visible

Yachting The English firm of Burberry supplied
a variety of clothes for women and men for
summer and winter sports. The relatively short
skirt of this yachting gown, worn with a manly
tie and flat cap, reveals practical footwear.

Wide straw hat Hunting WOMEN IN ACTION 231
with feather trim whistle
Bathing suit
Chatelaine Waterproof cloth sleeves now
attached to was often used
shorter to
waist belt reveal arms

Double-breasted Red cotton
closure for added tunic and
wind protection breeches

Quiver to Hunting whip with
hold arrows hook to open gates

Edges
decorated
with two lines
of white braid

Archery This dress is minimally adapted for sports. Hunting This figure is taken from an advertisement Bathing Most bathing suits were navy blue,
The archer wears a leather guard on her left hand for H.J. Nicoll of London’s Regent Street for its but occasionally lighter and brighter colors were
and has attached a chatelaine (decorative hook) “world famous wrap coats.” These warm, long over used. Black stockings and bathing shoes were
to her belt. Archery accessories, including a brush garments were useful for walking, carriage driving, usually worn along with breeches or knee-
to clean the arrows, hang from the chatelaine. the races, and hunting. length bathing dresses.

Peaked cap Straw boater Toques (brimless
with ower hats) were worn
decoration at an angle

Dark belt provides Shirtwaist Muffs were Mackinaws often
focus at waist (a blouse a popular had a check or
made like accessory tartan pattern
a shirt)

Skirts reveal Fashionable Divided
ankles vertical button skirt
decoration

Knee-high,
lace-up boots
cover the legs

Golfing The white shirtwaist, usually worn with Hiking Mountaineering became fashionable Detachable
a tie, was popular with female golfers. Here, it is after the mid-19th century. This practical skates attach
accessorized with a tweed cap and kilties—shoes tailor-made suit has a divided, rather than the to boots
with a fringed tongue that covers the lacing and more customary floor-length, skirt. It is worn
keeps out water. with a shirtwaist underneath. Skating This suit from the American department
store Sears Roebuck is made of mackinaw, a dense,
water-repellent, wool cloth. The ensemble is cut
along fashionable lines, which, by 1916, had
become more suitable for physical exercise.

232 LA BELLE EPOQUE AND THE JAZZ AGE Silk chiffon Asymmetric
décolletage
1900 –1914 Short lace
sleeves
EVENING AND
TEA GOWNS 1900

Ladies of the Edwardian era (1901–10), Shining, pink,
whether young or old, bared their silk satin
décolletage and upper arms when
wearing evening dresses, but encased their Satin gown This evening gown by the
lower arms in long evening gloves. Sumptuous French House of Worth is embroidered with
fabrics such as silk satin, damask, and chiffon, beads and rhinestones in a motif of ears
usually in light, soft colors, were decorated of corn. Lace and chiffon soften the edges
with lace, rhinestones, and spangles, often around the low décolletage and bare arms.
highlighting a part of the body or the face.
The gowns’ many layers made them difficult, Décolletage Embroidered
if not impossible, to put on without help. softened with peacock
Often made of materials that could easily lace or chiffon
be damaged, evening wear required
decorous deportment. Tea gowns had Printed
emerged in the 1880s and continued peacock
to be a popular choice for receiving fabric used
guests in the afternoon. The for sleeves
gowns were often made up of
many layers of soft, light fabrics that
were flattering but utterly impractical.

THE GIBSON GIRL Overdress
made of thin
Thin, gauzy
material fabric for
overskirt
Trompe l’oeil
(pretend) 1910
tassels

1909

Water motif

Entire peacock
printed on skirt

In the 1890s the American illustrator Empire line Both the silk underdress and a Peacock dress The blue and green of the printed
Charles Dana Gibson drew tall, slender- fine outer layer are embroidered in colored beads and embroidered peacock’s body and feathers in
waisted, confident young women with arranged in linear motifs that emphasize the this dress are picked up in the waist sash, sleeve
layers of softly waved hair piled high on their statuesque feel of this gown. The three-dimensional ends, and deep hem. The dress was bought in
heads. The “Gibson Girl” set an almost tassels would move sensuously with the wearer. the little-known House of Weeks in Paris.
unobtainable beauty standard for the next
two decades. The actress Camille Clifford
(above) won a competition to find a living
version of Gibson’s creation.

EVENING AND TEA GOWNS 233

Modest décolletage Elbow-length
typical of tea sleeves
gowns
Deep lace ruf e Lace with
covers upper arms Very low ower pattern
décolletage
Narrow sleeves Asymmetric
ruched at front bodice

Sash

1906 1907

Skirt extends Floral Long train
into short train embroidery with tassel
decoration
Silk gown

Three-dimensional Short
linen lace train

Cut suggests
underdress made

entirely of lace

Slimmer lines Toward the end of the first Tea gown Worn indoors for afternoon tea, these Pink damask The loop attached to the train
decade dresses become higher waisted and gowns were usually made in light colors and soft is slipped over the wrist to lift the gown during
slimmer, as in this design for a French House fabrics, as seen in this magnificent example by the dancing. The lace echoes the floral pattern of
of Paquin evening gown. Embroidery or lace French House of Doucet. These garments went out the damask. A local English dressmaker may
trimmings were essential. of fashion around 1918. have made this dress.

Red feather FASHION AND THEATER
hair decoration

Flower at waist
provides focus

High waist

1913 Overskirt of
thin, stiff fabric

1914

Very narrow skirt

Drapery Shoes are London couturier Lady Duff-Gordon
emphasizes now visible dressed actresses—such as musical
hips and knees comedy star Gertie Millar (above)—both on
and off the stage. Duff-Gordon, who owned
Dinner gown The longer sleeves and absence of Robe du soir The French magazine Gazette du the House of Lucile in London, favored slit
embroidery and other surface decoration, other than Bon Ton presents an idealized version of a Paquin skirts and low necklines. She used copies
the fabric’s pattern, mark this as a dinner, rather than evening gown. It shows the hallmarks of the new of dresses worn on stage to open a Paris
an evening, gown. The skirt is split to aid movement. style: high waist, slimline but relatively loose, split branch of her House of Lucile Ltd. in 1910.
The new shape is very evident here. skirt, and short “lampshade” overskirt.

234 LA BELLE EPOQUE AND THE JAZZ AGE

A LIFE OF

LEISURE

The early 1900s was a time of contradiction: on one hand
was rapid technological change, the rise of motorcars, and
female emancipation; on the other, a golden glow of
romantic, hedonistic nostalgia enjoyed by the leisured classes.
The latter view still defines the Edwardian era for many,
and it was captured perfectly by contemporary fashions.

Edward VII’s love of extravagant pleasure set the age’s tone,
with rounds of lavish balls, country-house parties, travel,
and athletic pursuits. England's expanding middle classes,
upwardly mobile due to the Industrial Revolution, aped this
upper-class lifestyle: garden parties, tea on the terrace,
picnics, regattas, the races—all requiring suitable outfits.
For women, pastel colors were de rigueur, as was sumptuous
lace, mousseline de soie (gauzelike fabric), silk chiffon, tulle,
crêpe de Chine, ribbon trimmings, and any frilly, lacy detailing.
Huge hats bobbed with great feathers or silk flowers. Long,
wavy hair was fastened around pads for luxuriant fullness,
and the parasol was an essential accessory. The fashionable
female shape, created by corsetry, was also luxuriant: a large,
low, forward-thrust “monobosom,” a wasp waist, and full
hips from which a bell-shaped skirt, narrower than Victorian
styles, fell gracefully. High necks and long sleeves were worn
in daytime, with bodices and necklines infilled with lace or
light fabric. Male fashions served as a simple, sober foil.
Frock and morning coats were joined by lounge suits worn
with crisp collar and cuffs, hats, and umbrella or cane.

Society tottered through the last
of the pre-War parties, waved tiny
lace handkerchiefs, and carried
elaborate parasols until the War
came with its sweeping changes.

LUCILE, LADY DUFF GORDON, LEADING EDWARDIAN-ERA LONDON
COUTURIER, IN HER MEMOIRS, DISCRETIONS AND INDISCRETIONS, 1932

FASHIONABLE PURSUITS ▷
The man's binocular case suggests these Edwardians are at the races. Ascot,

Derby, Longchamps, and Auteuil almost served as catwalks and the less
well-to-do went to these racecourses not only to bet but also to gape.



236 LA BELLE EPOQUE AND THE JAZZ AGE High collar re ects Art
current fashion Nouveau
1900 –1920 motif
Voluminous
ANTIFASHION sleeves

Transforming women’s clothing into something more practical, timeless, 1900
“aesthetic,” or all three, had been the aim of dress reformers since
the 1850s, albeit without much success. Despite the introduction Hairstyle
of specialized clothing for some physical activities, many women at the inspired by
beginning of the 20th century still wore restrictive clothing and, Greek statues
if they could afford it, changed their wardrobe frequently
according to fashion’s demands. Artists and designers in several Art Nouveau
countries tried to change this state of affairs. While they shapes applied
proposed different solutions, their designs had common
features. Corsets, seen as the root of all evil, were generally to hem
abandoned; dresses often had a high, relatively loose waistline,
while voluminous sleeves and skirts allowed greater freedom Greek key
of movement. Prominent surface decoration incorporating pattern
the swirling lines and motifs of Art Nouveau—or based
on patterns derived from Ancient Greece, the Art Nouveau This gown, designed by Belgian
Renaissance, or Byzantium—was a common theme. architect Henry van de Velde, was shown in a German
exhibition of reform dress. Its “reception gown” label
High, loose shows van de Velde was not at odds with the female
waistline worn custom of changing clothes throughout the day.
without corset
Appliqué
ANNA MUTHESIUS decoration

on hat

High waist

Stole in
complementary

pattern

1910

In 1903 German concert singer, and wife Abundance Bergfalter pattern
of a well-known architect and writer, Anna of fabric used in two
Muthesius published a book entitled Das colorways
Eigenkleid der Frau (Women’s Own Dress). Grecian The American dancer Isadora Duncan was
fascinated by Greek culture. Her gowns inspired by, Wiener Werkstätte Koloman Moser
Muthesius believed that dress should but not replicating, ancient Greek clothing enabled was one of the founders of the art collective
express the individuality of the wearer, and her to dance more freely. Off the stage Duncan Wiener Werkstätte (Vienna Workshop).
she urged women to break free from the wore mainly fashionable dress. Moser designed the fabric for this dress,
fashion dictates of Paris and develop their which is cut looser than the current fashion.
own taste. Only then would they be able
to make suitable sartorial choices and
design clothes to suit themselves, using
aesthetically pleasing textiles and patterns.

ANTI-FASHION 237

High, pleated collar High-necked blouse in Yoke in black Collar in
complementary design and white chessboard
Very high pattern
waist Swirling Art triangle pattern
Nouveau pattern Necklace
Geometric Several layers designed
pattern Bishop of ruf es on by Josef
Bell sleeves sleeves Hoffman

shape 1903 1906 Skirt falls
straight
Wide, aring Trained skirt to seam
skirt allows
movement

Long
sleeves

Artistic reform The Munich artist Elisabeth Austrian revolt Defying the prevailing
Winterwerber designed this outfit using Art fashion, Viennese couturier Emilie Flöge wears
Nouveau motifs. Its softer lines are a direct a loose gown designed by her partner, the
contrast with the S-shaped corseted dresses Austrian painter Gustav Klimt. A Wiener
of the period. Werkstätte necklace accessorizes the gown.

Shoulder Wide scoop
falls neckline with
naturally drawstring
encased
Belt of matching silk along inside
with silver metallic edge

Wide arm stencil of trailing oak
holes leaves and dots

1913 1915 1920 Pleats fall like
a Greek column,
Narrow skirt Contrasting Full-length dress worn without
silk lining sweeps oor a corset

Large peacock
feather pattern

Pattern Austrian designer Eduard Josef Wimmer- Liberty The London department store Liberty Mariano Fortuny The Spanish designer's
Wisgrill founded the fashion department of Weiner & Co. had been associated with aesthetic dress trademark dress was the Delphos, a simple
Werkstätte. His design reflects a move toward a since the 1890s. This dramatic evening gown column of finely pleated silk, inspired by Greek
tubular form. The use of different patterns and colors shaped like a kaftan is made of “hera,” one clothing. Mme. Condé Nast, Isadora Duncan,
strengthens the effect of stacked-up geometric shapes. of the most well-known Liberty prints. and Lilian Gish were photographed in his gowns.

238 LA BELLE EPOQUE AND THE JAZZ AGE

1914 – 1918 Straw hat with Red Cross
dark ribbon emblem
WARTIME
WOMEN Wide lapels Masculine
shirt and tie

World War I accelerated the trend toward less Cuffs on
restrictive and decorative day wear as many sleeves
women became accustomed to wearing
practical uniforms or work wear. The loss of male

workers to the armed forces meant that women

were employed as railroad porters, bus drivers, train

conductors, window cleaners, and even welders. Women

also became members of voluntary forces, which were Coat a little
organized and dressed along military lines, such as the shorter
“land girls” who worked in agriculture or helped with than skirt

cutting wood. Most of these occupations came with Long length
boots

their own uniforms, though these often had to be Durable
leather boots
bought. Some garments, such as the “British Warm”

greatcoat worn by officers during World War I, was Trench coat Versions of the belted Red Cross This American woman’s Red
adopted as fashionable wear by both men and women. officer's coat became part of many Cross Motor Services uniform consists of
women's uniforms. For motoring, or as part a double-breasted and belted overcoat,
FOOTWEAR of the work wear of the “land girls,” the breeches, and a cap with an emblem badge.
coat was shortened to just above the knee. It was worn with leather boots and gloves.

The war had a big impact on fashion, changing the way Draped Hat with
women perceived themselves and how they were seen by hat brim
others. Many more women were now doing manual work,
requiring practical, durable clothing such as pants and sturdy, Detachable Belted tunic
sensible footwear. Women needed shoes and boots that were fur collar with large
comfortable enough to wear all day, and strong enough to pockets
withstand the elements. British shoemakers Clarks produced High
boots that were waterproof as well as “dainty.” The low heel waistline
and welting made them practical, while their narrow fit and
neat eyelet closures kept them feminine.

Wide skirt Lace-up Dark-colored
knee boots jodhpurs

Pointed
boots

Advertisement Russian look The revival of the full skirt at the Land Army Wearing durable jodhpurs
for women's end of 1914 pleased petticoat makers. Russian and sturdy boots, this member of the British
boots, 1913 influences remained and knee-length tunics as well Women’s Land Army is one of about 33,000
as fur-trimmed “Cossack” coats were “quite the females who worked on the land during the war,
stylish thing” for women outside the workplace. all requiring practical and durable garments.

Brim fastened Practical WARTIME WOMEN 239
on one side brimmed hat
Wide collar

Stand-
up collar

Seam
detailing

Button to fasten Wide
collar together shoulders

Pocket with
button detailing

A-line
skirt

High leather Plain
boots A-line
skirt
Bus conductor Wartime uniforms for women,
like this worn by a London “clippy” (a bus US wear The simple detailing of this American
conductor) often incorporated shorter skirts wool suit is reminiscent of women's wartime
or jodhpurs. To maintain modesty, they were uniforms. The buttoned half belt at the waist
usually worn with high boots or puttees. recalls the “British Warm,” and clever seaming
provides some surface decoration.
Buttoned up Head scarf tied
to the neck like a turban to WARTIME FASHION
for good protect hair
coverage The cover girl of The Gentlewoman wears
the uniform of a US male soldier: campaign
hat with pinched crown, issue shirt with
large pockets, breeches, and puttees (a
bandage covering for the lower leg). After
the US entered the war in April 1917, US
women took part in military service though
their uniforms usually included skirts.

Wide hem Fine leather
gives stiffness lace-up boots

Long coveralls
worn over day
wear

Coveralls Working with explosives was hard, Motor Corps The original Abercrombie & Fitch, “Miss 1918”
dirty, and dangerous. These munitions workers a New York retailer of sporting goods, supplied
from Kent dress in full-length coveralls and so-called “Lighting Liz” with her Motor Corps
head scarves to protect their clothing and hair uniform. The skirt could be exchanged for breeches
from factory dust and dirt. when she needed to scramble around truck engines.

240 LA BELLE EPOQUE AND THE JAZZ AGE

1914 –1923 Two-part ensemble Striped front
This blouse is made of ratiné, panel
TOWARD THE a loosely woven fabric with a
NEW WOMAN knotty surface. The tight hat Slim silhouette
hiding most of the wearer’s hair emphasized
foreshadows the hairstyle and by stripes

cloche hats of ten years later. Feet peep out
below hem
Embroidered belt
Patterned
The new woman of the 1920s with her bobbed hair and knee-length 1914 parasol
dress emerged gradually. The evolution to the modern female
silhouette took around ten years and started just before World War I.
Maybe the most fundamental change was the gradual revelation of the

lower part of women’s legs, which put a new emphasis on shoes and,

more importantly, on stockings. Flesh and soft pastel colors

replaced the dark stockings of the previous age and Black brimmed
were made of real or very shiny artificial silk. Equally hat with white
noticeable was a change in the fashionable ideal: bow trim

the statuesque, shapely, mature woman was replaced

by her bosomless, hipless, thighless, much younger

sister. Waistlines rose and dropped, finally settling

around the hips. The new silhouette and less

rigid clothing necessitated different kinds and

fewer items of underwear. Flat chest

Brimless,
angled

toque hat

Straw hat

Fitted
sleeves

Sash tied at
one side

Sash

1921 Ropelike belt

Narrow 1922
banded
Tightly skirt
rolled
parasol

Ankle-
length
skirt

Buttoned boots with Lower waist This simple, striped dress has a La mode simple This French pattern for a summer
black galoshes Peter Pan collar and matching cuffs. A few darts dress was practical and easy to make. Side skirt
in the side seam, just above the low waist, allow panels of patterned fabric make the simple shape
French pattern Almost no traces of the hourglass for a small bust. The black and white of the hat more interesting. The same fabric is used to edge
figure ideal remain. The simple cut of this dress would are echoed in the two-tone, lace-up shoes. the neck and sleeves.
have made it easier for dressmakers to replicate than
previous more elaborate confections. The use of
only two muted colors creates visual interest.

TOWARD THE NEW WOMAN 241

Wide-brimmed Brimless toque in
hat with contrasting color
matching trim
Military- Embroidery detail
inspired High waist
frogging emphasized

by belt

1916 Blouse cuff Buttons possibly
for decoration
1918
1919

Belt

Flaring,
practical skirt

Tightly rolled Wide, ankle-
umbrella length skirt

Marshall & Snelgrove This taffeta suit from Journal des Demoiselles The French Skirt narrows
a London department store echoes the shape Magazine for Young Women shows an elegant toward hem
of the uniforms worn by female bus conductors yet practical dress design. The collar could be
during World War I. The hat still features the attached to a chemisette—a biblike, fake blouse Fashion statements There
large crown popular before the war. that did not increase bulk. were several ways to enliven
the basic silhouette just after
Deep green velvet Cloche hat with the war. Here, drapery and
dyed ostrich deep pockets add width to the
feathers hips. Other options were a
short lampshade overskirt or a
Straight neckline skirt composed of deep ruffles.

Smocking provides
fullness for bust

Bishop Large bow BLOUSES
sleeves made at low waist
Pullover blouses, like these two examples from a 1922 pattern
of different book, were popular in the early 1920s. Those intended to be worn
panels over the skirt usually had a band, sash, bow, or other feature
at the low waistline. Women could choose from a variety of
1923 necklines to complement their jacket or cardigan. Nautical styles
remained in favor, blouses with sailor collars being advertised
Deep hem as “middies” in the US after the shirt of the midshipman.

Hairstyle foreshadows
late-1920s bob

Russian influences After the Fashionable Patterned Short-
1917 Bolshevik Revolution many strapped shoes blouse sleeved
Russians fled to Paris where some blouse
found work as embroiderers. Modern woman The American magazine
The collar, sleeves, and hip Elite Styles specialized in patterns for women’s
area of this velvet daydress are and girls’ clothing. The flat-chested, narrow-
embroidered with motifs found hipped modern woman could easily slip on
in Russian folk dress. this colorful dress and face the day.

Whenever I sign a garment with
my name, I consider myself as
the creator of the masterpiece.

PAUL POIRET

LA BELLE EPOQUE AND THE JAZZ AGE 243

DESIGNER

PAUL POIRET

Known as Le Magnifique in Paris and the King of shape in colorful beaded and fur-trimmed silks and chiffons. △ NEW WAYS OF WORKING
Fashion in the US, Poiret (1879–1944) was said by Confucius cloaks, kimonos, cocoon coats, and African Poiret painstakingly fits a house model,
The New Yorker (1927) to have “helped to change kaftans were popular shapes. draping fabric directly onto the body and
the modern retina.” This brew of descriptions underlines cutting material in straight lines. Despite
three aspects of the man who dominated Parisian and Fusing fashion, theater, and art the lean simplicity, his look was sensual,
international fashion in the 1910s—a theatrical orientalism, elegant, and feminine.
a new talent for branding and promotion, and a blending A sense of theater was integral to Poiret’s work, the
of clothes with avant-garde art. Poiret started auspiciously, oriental costumes of the Ballets Russes in productions such ◁ EMPIRE LINES
working for two leading turn-of-the-century maisons: as Schéhérazade (1910) being a major influence. Poiret’s A Directoire-style evening dress from
Jacques Doucet, then House of Worth. When he opened lampshade tunic appeared in his costume designs for an 1910, in forest-green and ivory-striped
his own Parisian couture house around 1903, he set about silk and black silk chiffon. This neoclassical
overturning Belle Epoque fashion values. European orientalist play called Le Minaret. Placing his young columnar shape was revolutionary in the
women had been enslaved to a corseted waist, wife, Denise, in the audience at the Paris première age of the corseted S-curve. Collar and
more or less, since the Renaissance. From 1903 cuffs are made from a traditional French
Poiret set out to free them from the petticoat, of the play in 1913, dressed in a similar cartridge-pleated linen bonnet, while the
and then the corset, in favor of looser, leaner garment, was a mark of Poiret’s genius high waistline is caught with the folkloric
lines. Although others, such as Madeleine for promotion. Poiret showed women how brocaded ribbon that Poiret adored.
Vionnet, also endorsed corset-free fashion, Poiret to make their fantasies into daily reality.
stole the limelight with vigorous self-promotion. Famed for lavish events—such as a Persian-
themed costume party entitled “The
Draping by design Thousand and Second Night” (1911),
co-hosted by a Poiret-dressed Denise—the
With a new silhouette came Poiret’s fresh take business-savvy Poiret is often credited with
on structuring garments. He replaced classic inventing the glitzy fashion launch. Under
19th-century pattern-dependent tailoring with Poiret’s influence, fashion became part of a
an inspired draping of fabric and let garments
hang from the shoulders. Between 1906 and World total artistic lifestyle. An enthusiastic painter
War I Poiret experimented with bold shapes inspired himself, Poiret collaborated with artists such
by a more natural female form and his own take on as Raoul Dufy and Erté, elevating clothes to
oriental luxury. Beginning with the svelte, empire- an art form. He founded a decorative arts
waisted lines of his startlingly simple Directoire school in 1911, worked in interior design, and
garments, recalling French styles of the late 1700s pioneered the couturier perfume business.
and early 1800s, he pushed aside the subdued Nicknamed the Prophet of Simplicity by Vogue
Edwardian palette, and added striking colors and in 1913, there is irony in the fact that Poiret was
exotic turbans. The year 1910 saw hobble skirts, undone by modernism. He was dismayed by the
so narrow at the ankles that walking was almost androgynous 1920s garçonne look and Chanel’s
impossible. The next three years brought harem love of black over color. Although the 1920s saw
pants, followed by a minaret or lampshade tunic his business in dire straits, he remains a towering
fashion influence on designers such as
Proenza Schouler, Prada, Hussein Chalayan,
and Rei Kawakubo.

1879 Born in Paris c.1903 Founds his first 1910 Designs hobble 1929 Closes his
fashion maison on rue skirts—an impractical, fashion business
1898 Starts work for Auber, Paris oriental-led fashion
TIMEL INE Paris couturier Jacques
Doucet, and creates an 1906 Launches the ▷ 1911 La Perse ▷ 1913 Iconic Poiret 1922 Beaded, 1944 Dies
early stir simple, empire-line coat, in silk and lampshade-minaret oriental-flavor penniless in Paris
Directoire Revival look fur, features fabric shapes launched evening dresses in
1901 Joins the and begins the liberation designed by Raoul hot Poiret colors
House of Worth, from corsetry Dufy. Harem
Paris, under pants appear 1920
Gaston Worth

1900 1910 1930

◁ MADAME POIRET, 1919 Denise Poiret was her husband’s muse and most effective advertisement—her naturally slim figure promoted his designs perfectly.

244 LA BELLE EPOQUE AND THE JAZZ AGE Dark velvet Narrow hem
band at neck conforms to
1909 –1926 contemporary
Flower made of silhouette
ORIENTALISM gathered silk
“Aigrette” or
In the summer of 1909 the Ballets Russes (Russian Ballet), the 1909 tufted feather
company formed by impresario Sergei Diaghilev, first performed decoration
in Paris with great success. Shows in other European cities followed Japonism The cut of this
over the next 10 years and everywhere the bright colors of the ballet’s evening mantle by the House
sets and costumes made a huge impact—“exotic” features such as of Worth is reminiscent of
turbans and harem pants were adapted for fashionable dressing. a kimono and shows the
While Paul Poiret claimed to have used bright colors before the Ballets enduring influence of Japan.
Russes, the French couturier, the so-called Pasha of Paris, is most The original founder’s son
associated with this trend. Poiret continued a long tradition of using Jean-Philippe, who ran the
motifs from Middle Eastern and Asian cultures in Western design that House of Worth after 1895,
went back at least as far as the Renaissance. During the 19th century had studied painting, an art
North Africa and Japan were prominent sources of inspiration and form in which Japonism
continued to be in the 20th century. Ideas of which countries belonged was all the rage.
to the “Orient” changed over time, but they were usually associated
with a richer, freer, and more sensuous way of life. Hat similar
to popular
HARLEM DANCER Diadems and tricorn shape
headbands were
The identity of the woman in this 1925 See-through
photograph—titled Dancer, taken in Harlem fashionable for sleeves
in New York City—is unknown, but she evening wear
is wearing a costume similar to a Ballets Fashionably long
Russes design. Dyed ostrich feathers Fur trim necklaces
tower over a headdress perhaps inspired
by traditional Persian dress. Other than
the baggy pants, her outfit is heavily
embroidered with beads and spangles.

1914

Split skirt with Chinese shoes
tiny train with upturned toes

Lamp-shade tunic After his famous Persian Pagoda The tiered tower design from Asia was
costume party, Paul Poiret created one of his imitated in Western architecture, interior design, and
best-known designs—a tight “hobble” skirt fashion. The outfit depicted in French designer Etienne
and a lamp-shade tunic held out with wire. This Drian’s fashion plate might have been costume, but
diaphanous example is edged with black fur. certain features also appeared in fashionable gowns.

Hat alludes to Fashionable Bold, abstract ORIENTALISM 245
Russian folk dress turban patterns in colored
Shawl collar
Feather Bodice decorated embroidery in machine-
decoration with spangles made lace
Costume In 1911 Paul Poiret
1911 organized a costume party Large hand-
with the theme “The One embroidered
Dyed Thousand and Second Night” buttons
ballet to promote his new designs.
shoes This opulent creation Silk chiffon
foreshadowing the use of lining visible
“lamp shade” overskirts through
net panel
was worn that evening.

1912

Fabric encrusted
with beads in
various shapes

Embroidery
from head
to ankle

The Firebird Tamara Platnovna Karsavina Opera coat Attributed to Poiret, this garment
danced the title role in Igor Stravinsky’s ballet shows a range of influences, both in cut and
The Firebird, a huge success when launched in finish. The loose wrap-over shape and wide
Paris in 1911. The costume is by Léon Bakst, who sleeves resemble a kimono, while the embroidery
worked on many Ballets Russes productions. is inspired by Middle Eastern architecture.

Leather Gold lamé
cloche
inspired by
Egyptian
hairstyles

Vermilion, Batwing
chestnut, sleeves
and gold
embroidery Gold print

Skirt held Cord belt
out by wire

1923 1926

Harem
pants

Black, silk
velvet panels

Short train
falls from
shoulders

Tutankhamun After the discovery of the Renaissance Italian designer Maria Gallenga is often
Pharoah’s tomb in 1922, elements that were compared with her compatriot Fortuny over her choice
believed to be part of Egypt’s culture appeared of colors, fabrics, and techniques. Hand-stenciled
in dress and jewelry. Poiret’s afternoon dress velvets reminiscent of Renaissance fabrics were made
is embroidered with hieroglyphic motifs. into a dress shape evocative of the Middle Ages.

246 LA BELLE EPOQUE AND THE JAZZ AGE Waist at Cinderella The French
natural level House of Douillet was known for
1920 –1929 attention to detail and exquisite
1920
ROBES evening wear. Andre Marty
DE STYLE illustrated this evening dress
called Cendrillon (Cinderella),
which combines soft lace,
a colorful band at the hips,
and large blocks of
austere black.

Short overskirt

In stark contrast to the streamlined dress of the “modern woman” with Tulle band Lace skirt with
its straight lines, often emphasized by geometric decoration, a much softens black apron feature
softer and more romantic silhouette survived beyond the late 1910s. neckline
The most prominent feature of this feminine style was a very full skirt
that sometimes required support by the means of side-hoops—stiff
understructures shaped like small baskets and worn over the hips.
The Paris couturier Jeanne Lanvin is most associated with this type
of dress, which was particularly suitable for younger ladies.
The so-called robe de style was inspired by 18th-century
gowns and was more forgiving than androgynous
1920s shapes. The vast expanse of the skirt provided
a large, blank canvas that could be filled with
embroidery, artificial flowers, lace, and feathers.

DOLLY SISTERS Spangled streamers Peacocks In the center of the roundels
provide movement decorating Lanvin’s evening gown, two
embroidered peacocks face each other,
surrounded by beads, pearls, rhinestones,
and spangles. Embroidered tulle decorates
the neck and hem bands.

Simple neckline

Low waistline

Embroidered Silk
roundels appliqué

1924 leaves

The Hungarian-born twin dancers Roszika Fall leaves The French couture house
and Janszieka Deutsch were known less Mybor employed artists to create
for their stage act than for their matching designs for their clothing. Silk fall
outfits, often provided by Jean Patou, and leaves, their veins emphasized with
their spectacular private lives acted out on pieces of lamé, are attached to triangular
the French Riviera, in nightclubs and casinos. panels that fall to the hem of this skirt.
The ostrich feather skirts of their windmill
costumes echo the robe de style silhouette.

Hair put up to ROBES DE STYLE 247
create proto-bob
Jolibois Lanvin called
Thin shoulder Straps this gown Prettywoods,
straps edged probably an allusion to
in red the types of flowers
Diagonal embroidered on it. Soft,
pleats below Diaphanous Chenille embroidery in plush chenille (French for
overskirt contrasting colors caterpillar) yarn has been
waistline used for the decoration.
1922 Appliqué
velvet owers Slightly waisted
bodice

Blue silk
taffeta

Flower Wide skirt
decoration
at hem

For the dance This robe à danser by the Lamé Fabrics using metallic yarns were
French House of Worth combines a dress popular in the 1920s. Lanvin used gold
shape that foreshadows the 1950s with lamé for this gown decorated with
its wide, see-through overskirt that allows three-dimensional flowers made of
movement on the dance floor and gives painted velvet. The color red appears
the ensemble a robe de style air. in the edging of the straps and hem.

Crescent shapes Train emanates Low, rounded FANS
from shoulders neckline
1928
Matching scarf Silk ribbon
owers
Tulle embroidered
with metallic
thread

Waist and skirt
lower at the back

Feathers This evening gown by the French Floral basket Ostrich feathers
House of Louiseboulanger is adorned with design, typical in natural color
feathers that would have emphasized the of Boué sisters
wearer’s dance moves. Individual filaments The 1920s probably saw the last flowering
of, probably, dyed ostrich plume have been Uneven hem of the fan as a fashionable evening accessory.
knotted together to form longer strands. echoes decoration Restaurants and nightclubs used printed
paper fans for advertising, and perfume
Historical influence The shape of this gown companies doused them in scent. Large fans
by the French Boué sisters, and the flowers made of ostrich feathers were particularly
arranged in garlands, hark back to the 18th popular since the plumes could be dyed
century. The silhouette is supported by an any color—to match or contrast with the
underslip that includes two rows of boning wearer’s outfit. As here, ostrich feathers were
just below the hips. also used in their natural colors.


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