THE FLAPPER: A STUDY OF THE EVOLUTION OF AN
AMERICAN FASHION STEREOTYPE FROM

1910 to 1929

By

BARBARA ROSE ALLAN

AN ABSTRACT

Submitted to the College of Home Economics of
Michigan State University of Agriculture and
Applied Science in partial fulfillment of
the requirements for the degree of

MASTER OF ARTS

Department of Textiles, Clothing and Related Arts

1960

Approved 37L 4413 K W‘ " ' a/anta-m /‘
G ‘ " O

 

 

 

 

 

ABSTRACT

The decade of the nineteen-twenties in the United States
represents an era in American history which has no immediate
parallel. It encompasses a period of time during which this country
was witness to: the recovery from a major war; a short economic
depression followed by unequaled prosperity; the impact of media
of communication and travel; the era of prohibition and its social
and economic effects; the emergence and influence of ”The Lost
Generation”; and the emancipation of women from their ties with
Victorian traditions; and the rise to public attention of the spirit
of youthfulness.

This last factor of youthfulness permeated the entire
atmosphere of the decade. The stress was placed on youth . . .
their ideals, their actions and their clothes. This study is centered
on the figure of the flapper, who is most readily thought of in terms
of her mode of dress. The flapper is the caricatured figure of the
American woman during the twenties; she looked, dressed, and
acted to the extreme in every aspect of the youth of that day° She
is a stereotype of the twenties, for today when the flapper is men-
tioned, she brings to mind the dress and actions peculiar to that
decade°

The study of the flapper as a fashion stereotype involved

four phases. The first encompassed the background conditions of

the period. Those covered were: the political and economic scene;
the automobile; media of communication; prohibition; trends and
fads; the role and status of women; the changing manners and morals
of the period. The second phase presented the stereotyped flapper in
terms of the fashion ideal, the definition of the flapper, and the
presentation of the flapper in terms of dress. The third phase was

a survey of the fashions preceding the nineteen-twenties which served
to illustrate the changes in dress leading up to the twenties. The
last phase was a comparative fashion study, utilizing the fashion
offerings of two publications, the Sears, Roebuck and Company
catalogs and Harperis Bazaar fashion magazine. This study, with
accompanying illustrations, showed the variations in dress that

were available to the consumer at that time. It also illustrated how
actual fashions deviated from the "typical“ flapper and in addition,
how the two publications differed from each other.

Data for this study were obtained through library research
and encompassed several categories of publication: historical studies,
social histories, costume histories, writings by authors of the
twenties, related empirical studies, books containing editorial
comments, and magazines and newspapers published during the decade...

Several conclusions were reached at the completion of
the study. lThe decade of the twenties was one of major change in
the United States and these changes influenced fashion. | It is believed

that while the change in the American woman at that time can be

attributed to no one factor, each had its influence. lThe flapper has
become a fashion stereotype in that she represents the appearance
of the woman of the twenties.) While this is true, the actual fashion
offerings of the day, as seen in the fashion publications, did not
appear to be as extreme as the stereotype. A great difference was
noted between the fashions of the two publications in the comparative
study. In that. the beginning (1920-1921), middle (1924-1926), and
end (1928-1929) of the decade were studied, it was apparent that the
trends established in Harper‘s were not seen until one season to
three years later in Sears. In addition, while the trends were
followed by Sears, they were invariably modified and less extreme.
Harperzs came closest to portraying the flapper as she was typified.
A relationship may be inferred between the offerings and the assumed
readers of the two publications.

Because of the breadth of this study, it was not feasible
to explore each facet. of the subject to its possible depth. As a result,
there are related studies which could be conducted, such as the
following suggested topics: an analytical study of the chemise trend
during 1958 and 1959, to determine why these fashions erupted again,
and how they were similar to the fashions of the twenties; a comparative
study between the fashions of men and women during the twenties and
further, relating them to those of 1928 and 1959; a specific study of
any one of the background factors as a fashion motivator; a study of

the psychological factors affecting women during the twenties in

reference to dress, and an investigation of social class in relation
to fashion changes of the twenties] It is believed that this field is

ripe for further research on the subject.

THE FLAPPER: A STUDY OF THE EVOLUTION OF AN
AMERICAN FASHION STEREOTYPE FROM

1910 to 1929

By

BARBARA ROSE ALLAN

A THESIS

Submitted to the College of Home Economics of
Michigan State University of Agriculture and
Applied Science in partial fulfillment of
the requirements for the degree of

MASTER OF ARTS

Department of Textiles, Clothing and Related Arts

1960

ii

ACKNOWLEDGMENTS

I would like to extend my warm thanks to my advisor, Dr.
Mary Lou Rosencranz, for her willing cooperation and constant support
during the preparation and writing of this paper. In addition, gratitude
is extended to Professor Hazel B. Strahan, my academic advisor, for
her friendly counsel and willing aid.

It is with a great deal of gratitude that I extend my sincere
thanks to the New York Public Library, New York City, New York;
the Costume Institute of the Metropolitan Museum of Art, New York
City, New York; the Princeton University Library, Princeton, New
Jersey; the Georgian Court College Library, Lakewood, New Jersey;
the Michigan State Library, Lansing, Michigan; the Michigan State
University Library, East Lansing, Michigan; Sears Roebuck & Company,
Chicago, Illinois; Harper's Bazaar, New York City, New York; Miss
Jeanne C. Ayers, New York City, New York; and Sister M. Consolata,
Lakewood, New Jersey, for enabling me to obtain the necessary data
to complete this thesis.

Special gratitude is extended to Mr. Francis Scannell of
the Michigan State Library, Lansing, Michigan; Mr. Donald Bunting,
Manager, Sears Roebuck 8: Company, Lansing, Michigan; and Mrs.
Bonnie Cook, his secretary, for their willing cooperation in enabling

me to obtain the illustrations for the fashion study.

iii
I would also like to thank my photographer Mr. William
Hersey for his skill and cooperation, and A1 and Jane Wonch for
their aid and competence in typing and duplicating this paper.
In addition, my deepest gratitude to my parents, to Lesley
B. Simpson, and to Elaine A. Durst, for maintaining their composure

and abiding with mine during the months of preparation of this thesis.

TABLE OF CONTENTS

ACKNOWLEDGMENTS ....................................
LIST OF ILLUSTRATIONS ....................... . ........
Chapter

I. INTRODUCTION .................................

Statement of Purpose
Justification of Study
Methods of Research
Definition of Terminology

II. REVIEW OF LITERATURE .......................
III. BACKGROUND CONDITIONS OF THE PERIOD .......

Political and Economic Scene
The Automobile

Media of Communication
Prohibition

Some Trends and Fads

The Role and Status of Women
Changing Manners and Morals

IV. THE STEREOTYPED FLAPPER ..................
The Fashion Ideal
Who Was the Flapper ?
The Flapper Stereotype in Terms of Dress

V. WOMEN'S FASHIONS PRECEDING 1920 ......... q. . .

VI. COMPARATIVE FASHION STUDY, 1920-1929 .......
1920 and 1921
1924-1926
1928 and 1929

VII. SUMMARY AND CONCLUSIONS ....................

BIBLIOGRAPHY ............................... , .........

iv

Page

ii

H

004mm

14

221

22
30
32
40
44
46
49

56

56
61

67.

90
90
104
"129
142

150

__- __ ___.____ ._._.——-

Plate

A—O

A-l

A-2

A-3

A-4

LIST OF ILLUSTRATIONS

Life, February 18, 1926. Cover ....................
Sears, Roebuck Catalog, Fall-Winter, 1920, p. 60

Sears, Roebuck Catalog, Fall-Winter, 1920, p. 59

 

Sears, Roebuck Catalog, Fall-Winter, 1921, p. 62
Sears, Roebuck Catalog, Fall-Winter, 1921, p. 64

Harper‘s Bazar, June, 1920, p. 94 ...................

Harper's Bazar, June, 1920, p. 77 ...................
\‘_________
Harper's Bazar, May, 1921, p. 65 ...................

Harper's Bazar, May, 1921, p. 64 ...................
Sears, Roebuck Catalog, Spring-Summer, 1924, p. 3...
Sears, Roebuck Catalog, Spring-Summer, 1924, p- 14..
Harper's Bazar, April, 1924, p. 74 ..................
Harper‘s Bazar, February, 1924, p. 71 ...............
Sears, Roebuck Catalog, Fall-Winter, 1925, p. 75 .....
Sears, Roebuck Catalog, Fall-Winter, 1925, p. 73 .....
Harper's Bazar, October, 1925, p. 87 ................
Sears, Roebuck Catalog, Fall-Winter, 1926, p. 57 .....
Sears, Roebuck Catalog, Fall-Winter, 1926, p. 56 .....
Harper's Bazar, April, 1926, p. 16 ..................
Harper's Bazar, October, 1926, p. 25 ................

Sears, Roebuck Catalog, Spring-Summer, 1928, p. 26..

1,8.»
99;.
100
101
105
106
108
109
113
114
117
121
122
124

125

.127

Plate

A-12

A-13

A-l4

A-15

Sears, Roebuck Catalog, Spring—Summer, 1928, p. 28 ..
Sears, Roebuck Catalog, Spring-Summer, 1929, p. 15 ..
Sears, Roebuck Catalog, Spring-Summer, 1929, p. 4 . . .
Sears, Roebuck Catalog, Spring-Summer, 1929, p. 7 . . .
Harper's Bazar, October, 1928, p. 117 ...............
Harper's Bazar, October, 1928, p. 8.9. . . . . . . . . . .. .....

Harper's Bazar, April, 1929. P. 96 ..............

Harper's Bazar, October, 1929. p. 82 ,,,,,,,,,,,,,,,,

vi
Page
128
131
132
133
135
136
140

141

CHAPTER I
INTRODUCTION

1 2
The “Roaring Twenties" . . . the "Jazz Age" . . . both

terms make reference to a relatively short (1920-1929), but important

period in United States history. It was a period of radical change both

in the moral and the economic standards of the people. It marked a

sharp breaking point from the strict morality and convention of the

Victorian era. It was a time of change which affected every phase of

the traditional American way of life.

The restlessness of returned doughboys, the excesses
spawned by widespread open disregard of the natural law,
the Speakeasy, the bootleggers, the high speed automobile,
the flappers, short skirts, bobbed hair, uninhibited
literature, the early psychoanalysis, the tabloid version
of yellow journalism, the manipulation of credit and the
obsolescence of the gold standard, wide open gambling,
Sunday sports, popular dance crazes, movie madness,

and all the other mass hysterias contributed to one sig-
nalled, vast break from the old ways and a changed attitude
of looking forward, being ready and eager for "something
new. "3

This period has left a lasting impression on the minds of

the American people and has also created certain patterns of thought.

 

1Paul Sann, The Lawless Decade (New York: Crown

 

Publishers, Inc., 1957), p. 7.

ZOliver Jensen, The Revolt of American Women (New York:

 

Harcourt, Brace 8: Co., 1952), p. 170.

3Sann, op. cit., p. 4.

One of these patterns involves the "flapper, " a stereotyped image

of the American woman during the twenties, immortalized by cartoonist
John Held Jr. , and writer F. Scott Fitzgerald. 1 "She was the languid,
concave, flat-chested Flapper. She smoked too much, she drank too
much bath—tub gin, she hated daylight, and was apparently always

bored to tears. "2 ”'Fowhere in American history, save this period,

does this image find a place. The flapper has become representative
of an era that produced one of the most radical and sudden revolutions
in American life.

J The stereotype of this figure is unvarying--cloche hat,
bobbed hair, flat, boyish figure, the chemise, skirts to the knees,
rolled stockings, vivid and extreme cosmetics--a cigarette smoking,
gum chewing, wise-cracking ”woman of the world. " (This is the image
and it is expressed in terms of figure and fashions. She was, in her
day, the symbol of idealized youth and revolt from the staid traditions
of her elders. Yet there is more to the flapper than merely what she
wore, for she represents change; change in the role of women in
American culture, change in the social conditions of the country, and
change in the morality. j

r’P‘l’ar’.

At the turn of the century, the Victorian tradition held

fast, expressing itself on the surface by the excresences which decor-

ated outside garments--the superfluous petticoats and underwear, and

 

1Golden Anniversary of Fashion (New York City, 1948), p. 22.
21mm. pp. 22-23.

 

the stiffly boned corsets. As the years progressed, certain changes
in women's dress began to appear, which gradually resulted in the

relaxed, simple, and youthful silhouette of the nineteen-twenties.

Statement of Purpose

 

1 It is the purpose of this paper to study the dress of the

flapper as a reflection of the era in which she existed.) She will be
examined and presented in two ways. First as a stereotyped image
which represents all the excitement and radicalism of the nineteen-
twenties. This will be the flapper that has survived the element of
time and which now exists in a glorified version through the media
of print and film. This is the flapper as she exists in the mind of
man. In this sense, the flapper will be seen as a reflection of the
mood of the period during which she existed; as the idealized image
of American woman at that time, and as a figure that is peculiarly

. American.

Since the term “flapper" is closely related to a mode of
dress, the second presentation will involve the actual fashions of the
time period. This will be the flapper as she existed in reality during
the twenties, in terms of dress. It will involve‘the gradual changes
I in women's dress which lead to the fashions of the flapper.

Indasmuch as it is difficult to state specifically when any
particular fashion started or ended, because of overlappings with

previous fashions, an overall view of the fashions of the decade 1910

4
to 1919 in the United States will provide the background for the period
specifically covered in the survey. The fashions of the background
period will be regarded in light of certain factors, as the changes in
silhouette, garment structure, and decoration.

The fashions of the twenties will be presented on a com-
parative basis, for it is self-evident that the fashions of any one period
are not adopted by all levels of society in exactly the same way. It is
for this reason that two publications were chosen as a basis for com-
parison, the Sears, Roebuck and Company catalogs and Harper's
Bazaar magazine. It is felt that each has its specific audience: Sears,
Roebuck catalog--the mass, mail-order market; and Harper's Bazaar--
the woman who is more conscious of high fashion. In addition, it is felt
that the differences in the fashion offerings of these two publications
will, in themselves, provide sufficient differences to clearly illustrate
the variety of existing fashion trends and how they relate to the flapper.

A parallel to the actual garment change was a change in
the fashion ideal, which is the aim of the woman who desires to be in
vogue. Since this ideal is not static, but changes with the times and
attitudes of the people, it will also be considered. Selected illus-
trations from each publication will be utilized to support the descriptions
of the fashion changes. This is not to be a detailed costume study.
Rather it is designed to give the reader a broad view of the progressive
changes in women's fashion during the years covered.

1 These fashion changes will be discussed in terms of the

social and economic changes occurring at the same time, showing their

influence] The most specific socio-economic conditions to be con-
g

up.”

 

sidered are: the national prosperity, the effect of the prohibition
amendment to the Constitution, the changing morals and manners of

the period, and the changing role of women. I‘x

Justification of Stifiy

 

It is the belief of this writer that the marked changes in
women's fashions during the years 1910 to 1929 in the United States,
closely parallel the economic, social, and moral revolution taking
place at the same time. It was a time when women reached the peak
of their struggle for equal rights with men, involving both the right
to vote and the ability to compete in the business world; of greater
communication between people by means of new and improved media--
radio, motion pictures, books, newspapers; of more rapid trans-
portation--trains, automobiles, and airplanes; of the growth of
industrialization; of the emergence of the United States as a world
power following World War I; of the night club era of prohibition and
gangsterism; and of the change in morality as reflected in new
religious movements and trends of thought in literature. ‘

~X Fashions change because of social, economic, and psycho-
logical factors. Among the factors speeding these changes are
"democracy, education, travel, inventions, competition, the courage
of leaders who have high ideals for the common good, and a pre-

1
ponderance of organizations directed by younger people. " All of

 

1Bernice Chambers, Fashion Fundamentals (New York:
Prentice-Hall Inc., 1947), p. 15.

 

these existed in the United States during the years 1910 to 1929.
New fashions, to be successful, must be in accordance with the
ideals current at the time they are launched so that women may see
in them a symbol of that to which they are striving.1 These were
years of rapidly changing ideals; so too were they years of rapidly
changing fashions. The climax of the change was the emergence of
the flapper in the nineteen-twenties.

The author believes that there are several significant
factors that support the defense of this thesis. tThe period under
consideration is one of importance in American history both socially
and economically. It was an era that was witness to a break with
tradition; it was a period of political upheavals; and was a time of
unparalleled economic prosperity. In the area of fashion, it is out-
standing, for it was a time of a marked change in women's apparel. l

The author feels that this study is unique in that, despite
a wealth of related information pertaining to the subject, she is
unaware of any works treating the flapper as a fashion entity. This
stereotype is referred to many times in social histories and costume

sugxeys, but the flapper has not beenthe subject ofafldi‘stinct study, __ .

._,._ _-__

. “-4

relating her dress to social conditions. Since fashions generally
reflect the customs of a people and the mood of an age, it is felt

that this study will serve as a foundation for a better understanding of

 

1J. C. Flugel, The Psychology of Clothes (London: L 8:

"V. Woolf at the Hogarth Press and Institute of Psychoanalysis, 1930)
p. 152.

 

rA-z__ .
Lthe developments in women's fashions during the nineteen-twenties: ’

Methods of Research

 

This thesis may be designated as an historical research
paper embracing a fashion survey. The procedure followed involves
an analysis of historical data in terms of the subject matter. His-
torical analysis incorporates judgment and understanding of the problem
and the information; the arriVing at a conSCious unity of ideas from

. . . 2

the diverSity of human functions encountered in research; and the
utilization of an appropriate language, one that is capable of describing
an accurate outline of the facts.

Two categories of research materials have been utilized,

. 4 . .
primary and secondary sources. Primary sources are those which
give the first information attainable of the fact or event to be discovered.
This would include several kinds of periodicals as well as scientific
journals--all published concurrently with the event under
investigation. This may also include textbooks and literary works
authored by those who personally experienced the event. Secondary

sources are those derived from the primary, which are either known

 

1Marc Bloch, The Historian's Craft (New York: Alfred A.
Knopf, 1953), p. 138.

21bid. , p. 144.

 

 

31bid., p. 154.

 

4C. G. Crump, History and Historical Research (London:
George Ruttledge 8t Sons, Ltd. , 1928), pp. 67-68.

to exist or are discoverable. This would include textbooks, surveys,
analyses, and other publications compiled at a later date utilizing the
available primary sources.

In respect to this study, certain steps in the organization
of research were followed. The problem was identified as a library
research study. This indicated that the bulk of the factual content
would be gleaned from printed materials available in public collections.
The types of material available that would be pertinent to the study
were enumerated: fashion magazines, newspapers, textbooks, literary
works, scientific journals, and mail-order catalogs. It was felt that
these classifications would provide the author with valid data since
they encompass both primary and secondary sources. These sources
also provided the author with varied socio-economic attitudes toward
the subjects. For example, a comparison between the Harper's
Bazaar interpretation of the fashions and that of a mail-order catalog.
A thorough investigation of the available sources was made which

enabled the author to present these data and their interrelationships.

Definition of Terminology

 

A study of any kind requires the utilization of terminology
which facilitates the execution of the paper. It has been established
in the statement of purpose that the costume of the years 1910-1929
will be surveyed in reference to pertinent factors. In order to fully

understand this summary, certain terms require definition.

Fashion is ”the accepted manner of dressing, living,
entertaining, or traveling adopted by groups of people at a particular
time. ”1 Fashions are dynamic and change in accord with the economic
and social conditions of the era. The term is often erroneously used
as a synonym for style. In the world of fashion, stile refers to "the
silhouette, fabric, color, decoration, trim, or accessories used at
a particular time, identified with a particular group of people. "2 It
is a static element. It may be correctly stated then, that fashion is
concerned with a particular style used at a specific time.

The important element in fashion is the general contour
of the costume in relation to the figure and carriage of the individual.
Changes in fashion are primarily silhouette changes and not necessarily
changes in detail. Silhouette may be defined as "the mass of the
costume which shows the outline, whether viewed from the front,
back, or side. This outline will include the shape of the neck and

bottom of the sleeve, as well as the shape of the waist, sleeve, and

skirt. "3
Silhouette may vary according to:
1. length of skirt,
2. position and size of the waist,

 

1Chambers, op. cit., p. 1.

21bid., p. 2.

3Josephine F. Eddy and Elizabeth C. B. Wiley, Pattern
and Dress Design (New York: Houghton-Mifflin Co. , 1932), p. 141.

 

10

3. the style of the sleeves,
4. the amount, position, and type of fullness,
5. the shape of any applied trimming, such as bows, capes,

and panels,

6. the texture of the material used.

Beginning the silhouette at the top of the figure is the

2
shoulder line or shoulder seam. It lies at the very top of the shoulder,

 

from the neck base to the shoulder tip. The decrees of fashion will
vary the placement, whether forward, straight, or back.
The bustline is a circumference measurement, taken about
one inch below the armhole. It extends around the largest part of
the bust in front and straight across or a little higher across the back.
The normal or natural waistline is the line of the smallest body
(torso) circumference. It lies just below the lower rib. 4 The hipline
is a circumference measurement taken seven inches below the waist.
The s_k_i_r_t is any part of the garment (or a separate garment)

that hangs below the waist. 6 The hemline, at the lower edge of the

 

11pm., p. 142.

2Mabel D. Erwin, Practical Dress Desig£(New York:
The Macmillan Co. , 1940), p. 116.

3Mabel D. Erwin, Clothing for Moderns (New York: The
Macmillan Co., 1949). p. 191.

 

 

4Erwin, Practical Dress Design, op. cit., p. 50.

 

51bid., p. 51.

6Mary Brooks Picken, The Fashion Dictionary (New York:
Funk and Wagnalls, Co., 1957), p. 306.

 

11
skirt, is important in its relation to the general silhouette. No body
measurement can be made on this plane. Fashion suggests its location,

whether to emphasize or minimize the legs. Skirt length (in this study)

 

refers to the number of inches between the skirt hem and the floor.
Therefore the higher the skirt length number, the shorter the skirt
will be on the given individual.

It is important that silhouettes look well on the figure
when it is seated as well as when it is in motion. There are fashions
in posture and carriage as well as in dress. Generally, new silhouettes
bring in new postures. These postures are adopted by the fashionable
individual in the belief that this particular stance or method of walking
enhances the outward appearance and effectiveness of the costume.
The two postures prevalent during the time period covered by this

study were the debutante slouch and the flapper swagger. The slouch

 

 

was a stance and the swagger a mode of movement. Both involved
the shoulders and chest being dropped back and the abdomen pushed
forward. 2 This gave the figure a sway-back appearance.

The time period under consideration in this survey was
witness to the emergence of a new figure in the field of women's
fashion, the "flapper. " Dictionary definition describes her asl'.'a—’

3
young girl considered bold and unconventional in actions and dress. "I

 

1Erwin, Practical Dress Design, op. cit., p. 51.

 

2
Ibid., p. 136.

3
Webster's New World Dictionary (New York: World
Publishing Co., 1954), p. 551.

 

12

The fashion definition is the "name given to any young woman who
wore very short skirts or short sleeveless dresses, large hats, and
the generally exaggerated styles of the nineteen-twenties. "1 The term
appeared as early as 1910 denoting any girl who followed the new and
different modes in dress. Despite this, the term generally has
reference to the nineteen-twenties and refers to one of the three
characteristic new types of women that appeared. They were the
sophisticate, the flapper, and the careerist. They represented three
striking impulses: the desire to be worldly, the quest of pleasure,
and the ambition to win a personal success in business or other
occupations.

In this survey, the term flapper will refer to any woman
who wore the exaggerated styles of the period, regardless of her age,
occupation, or social status. She is a stereotyped figure, one that

represents the mental image of women and dress that evolved out of

the nineteen-twenties in the United States. In this sense, stereotype

 

is defined as "a picture people carry in their heads relative to political,
economic, or social phenomena. "
The flapper brought with her certain terms that were

somewhat new to fashion. The boyish-form was the straight, uncorseted

 

 

lPicken, op. cit., p. 132.

2 .
Agnes Rogers, Women Are Here To 5131' (New York:
Harper 8: Brothers, 1949), p. 94.

 

3Leonard W. Doob, Public Opinion and Propaganda (New
York: Henry Holt & Co. , 1948), p. 201. ‘

 

13
figure popular in the nineteen-twenties. The bust was held in and

1
flat by a bras sibre designed for that purpose. The chemise-frock .

 

refers to a simple unfitted dress hanging straight from the shoulders.
The cloche is a hat with a bell shaped crown, often with an even brim
turned down. It may also have a short brim at the front and back,

3
and a slightly longer brim at the sides. The boyish-bob refers to

 

a hair style that is cut quite short and trimmed fairly close to the

head, as in a man's haircut.

 

1
Picken, op. cit., p. 301.

2

Ibid., p. 104.
3 .

Ibid., p. 162.

4
Ibid., p. 24.

14

CHAPTER 11

REVIEW OF LITERATURE

In order to conduct a study such as this, it was necessary
to use as references many types of publications. As explained in the
Statement of Purpose, the author is unaware of any other works,
whether of literary or scholarly value, that deal with the flapper as
a fashion entity. As a result, an attempt was made to utilize a
representative selection of the available works that deal with the
subject matter, whether directly or indirectly. Among the classifications
used were: historical reviews; social histories of the United States;
volumes on sociology; works containing editorial comments, which
would include books giving the author's own comments, novels, and
magazine and newspaper articles; related empirical studies conducted
as research in other American universities; and books dealing with
historic costume and costume design. In addition the Sears Roebuck
8: Company catalogs and issues of Harper's Bazaar were used for the
comparative costume study. The following review presents examples
of the types of references utilized.

The nineteen-twenties define a period in American history
that many Americans cannot deplore more heartily . . . or recall
with more relish. The memory of them is, in reality, a composite
of whirling years with but a few annual dates; it was an amazing inter-

lude that began with the attempted aridity of the prohibition amendment

15
and ended in the deluge that followed the Wall Street crash. Between
these two specific events was a time of change. It encompassed a
short period of economic depression and a longer period of inflation
and prosperity. The business world opened its doors to women and
their influx was unprecedented. The younger generation became
almost the prime focus of the country and their influence was wide—
spread. It was a period that saw a radical shift in the manners and
morals of the people and which gave importance to factors that had
heretofore been in the background of American life.

The changes that occurred during the nineteen-twenties
involved social changes. Sociology is "the study of the ways in which
social experiences function in developing, maturing, and repressing
human beings through interpersonal stimulation;1 it is the study of

2
social situations. A social situation is the "interplay of a number of

 

persons meeting or attempting to meet a want or need. "3‘ These
definitions are important to the influence of social changes on fashion
for they support the premise that the social events of the decade under
consideration had an effect on the prevailing modes of fashion.‘

In all fashion, there must be a relationship to the events and
aspirations of the moment, but also a memory of the past. It

 

1
Emory S. Bogardus, Sociology (New York: The
Macmillan Company, 1954), p. 4.

2 .
Ibid., p. 19.

3 .
Ibid., p. 18.

16

is a continuous sequence of change, revolving around the
axis of events. Its objective is to bring into harmony the
various environments which mankind creates and controls.
Fashion is a way and pattern of living controlled by various
other forces, but, in the end, bringing these forces into
focus and balance . 1
According to Cunnington, ”the fashions of an epoch and
its social tastes and outlook have an ascertainable harmonic relation-
. 2 . . . .
ship. " Fashion itself, is governed by change, both env1ronmental and
emotional. The décor of our lives is constant, is near to us, and is
close to our thoughts. Since it is a close phase of our envoirn, it
may be said to be a valid representation of both material and psycho-
logical changes.
¥ Fashions do not accidentally occur nor do they suddenly
erupt. They represent a long and intelligent evolution
expressing the needs of women in relation to their social
lives, at some particular time, and with relationship to
available materials and inspiration. They grow out of
the fashions of the past; re-interpreted in the needs and
visions of the present.
In direct relation to this, it was said "For this reason a

Composite study of the progress of fashion . . . should serve to indicate

the changes which took place in . . . America. "

 

1
Morris de Camp Crawford, One World of Fashion (New
York: Fairchild Publications, Inc., 1955), p. 65.

 

2C. Willett Cunnington, Why Women Wear Clothes (London:
Faber 8: Faber, Ltd., 1941), p. 36.

 

3Morris de Camp Crawford, "Fashion Significances, The
1920's: The Fashions and the Art Inspiration, " Women's Wear Daily,
April 1, 1949. P. 3.

 

4Elizabeth Burris-Meyer, This Is Fashion (New York:
Harper 8: Brothers, 1943), p. 158.

 

17

Carrying this thought another step, Young stated that "a
controlling factor in changes in women's dress is that all women
desire to wear each year, dresses sufficiently different from last
years so as to be unmistakably recognized by the uninitiated as being
the latest mode, yet not identified with those of other women, yet not
so different as to be conspicuous. "

In his articles, Francis E. Russell developed this thought
in this way: "It would be far easier for her to wear the skirt to her
knees with the majority of women dressed the same, than to be alone
in a gown six inches from the floor. It is all a matter of custom and
it can only be changed by the united efforts of those who see the
necessity. "

Relative to the idea of custom and dress, he stated,

Men who admire women more than clothes have never taken
kindly to dehumanizing fashions . . . But however they may
protest . . . anything that women will persistently wear "as
the correct thing" soon seems to be associated with woman-
kind in men's minds as to seem the ”womanly" dress. 3

It seems as if, at this stage of the world, we all ought to
know that our notions of what is womanly or unwomanly,
feminine or unfeminine, are largely the results of education.

Had we always seen men in petticoats and women in breeches,
it would seem very unfeminine for a woman to put on‘s’kirts. 4

 

ers. Agnes Brooks Young, RecurrinLCycles of Fashion
(New York: Harper 8: Brothers, 1937), p; 4.

 

Francis E. Russell, "Freedom in Dress for Women, "
The Arena, Vol. 8 (August,'1893), p. 70.

3Ibid.

 

4Francis E. Russell, "A Brief Survey of the American Dress

Reform Movements of the Past, with Views of Representative Women, "
The Arena, Vol. 6 (June, 1892), p. 336.

 

18
The essential quality of the fashions during the twenties
was the expression of youth, "gradually changing from a sort of
'neutral sex' verging on the male adolescent, towards the female
adolescent and finally emerging by about 1930 into womanhood. "
The boyish vogue was perceptable and hipless and bosomless figures
became the fashionable aim. "My dear, you've got absolutely nothing"2
was a high compliment, for 'nothing' was coveted. The whims of
fashion seldom follow the contours of the body and the result is
particular stress on some single part which is then treated as a special
center of interest. "At the present time interest has departed from
the trunk and is centered on the limbs. "3 The accentuation of youth
4
had led to the idealization of youth. Flugel supports this premise:
Long slender limbs and an undeveloped torso are typical of
immaturity, and if modesty had departed from the legs it
has now moved upwards to the body where any display of the
characteristics of the fuller figure is discountenanced. The
bosom must be small and virginal; and maturity . . . is
concealed as long as possible.

With the tendency toward short skirts, knees were exposed

. 5
and stockings ceased to be "underwear and became outerwear. " The

 

. 1C. Willett Cunnington, English Women's Clothing in the
Present CentuiLy (London: Faber 8: Faber, Ltd. , 1951), p. 148.

 

 

ZDoris Langley Moore, The Woman in Fashion (New York:
B. T. Batsford, Ltd., 1949), p. 174.

 

3Flugel, op. cit., p. 161.

41bid. , p. 162.

Golden Anniversary of Fashion, op. cit. , p. 26.

 

19
question of "underwear" was a topical one. It was said that "It is
perfectly true today that women wear little or no lingerie but that
'1ittle' adds to or detracts immeasurably from the total effect of the

N1 .
whole costume. Research showed that in 1926, many ceased to
wear the brassiEre, the teddy (a comination camisole and bloomer)
, 2
being the only undergarment worn and many, not even that. " A
fashion writer of the New York Times in July, 1920, wrote: "The
American woman has lifted her skirts far beyond any modest limitations. "
It may be surmised that during the period under discussion

there were many changes, changes in the way of life and changes in
the costume desired and worn.

With women's penchant for extreme frankness in manner,

habits, and speech, a lack of modesty and decorum was

evident, and her dress reflected this attitude with its ex-

tremely low necks, short tight sleeves, or no sleeves at

all. 3

While the American woman was dressing differently, she

was also doing something else, whether consciously or unconsciously.

In a very tight skirt, the American woman was expressing

"her desire for new experiences" in the tango, foxtrot, and,

most alarming to those interested in her welfare, the "sinuous

debutante slouch. " And the day was at hand when the old
boned corset, though still purchased was "parked" for the

 

1Harper's Bazaar, April, 1924, p. 105.

 

2
Annie Isabelle Elliot, "Style Cycles in Women's Under-
garments" (unpublished Master's thesis, Department of Home Economics
and Household Administration, University of Chicago, 1927), p. 17.

3Doris Jane Brockway, "The Social, Political, and Historical
Influences Reflected in Twentieth Century Costume" (unpublished Master's
thesis, University of Washington, 1939), p. 126.

20

duration of the dance . . . a signal to the inflexible of mind
that morals were melting fast.

The post-war world faced far reaching conflicts in, morals
and religious beliefs, for there was a change in ideals. The revolu-
tionary theory of Darwin resulted in a critical analysis of the Bible,
with considerable speculation as to the acceptability of orthodox
religion. The result was a lack of emphasis on theological controversies
and a direction of the attention to the problems of the machine age.

There was the removal of some spiritual explanations of life's processes,
- o s u o 2
‘ and grow1ng materialistic trends. “God is the power of money. "
"Remove the spiritual qualities of awe and reverence and audacious
bravado will stand in its stead. "

. 4 . . .

The "flaming youth" came to fore. They were undisc1plined
and pampered, seeking chiefly to "get by" and making mad plunges
here and there. An encompassing statement of the age was made by
John Erskine: "It would be unfair to ourselves and our contemporaries

to say that this is an age of bad manners. Rather it is an age of no

manners at all. "

 

1
Robert Holliday, Unmentionables (New York: Ray Long
and Richard R. Smith, 1933), p. 2.67.

 

2Brockway, op. cit., pp. 81-82.

3Ibid.

 

4Bogardus,’ op. ”cit. , p. 261.

5John Erskine, "Tact, " Mirrors of the Year 1925-28, ed.
Horace Winston. Stokes (New York: Frederick A. Stokes Co. , 1928), p.
.147.

21
It was an age of prosperity and unreality. There was
an overexaggeration of everything, especially concerning the freedom
of the female. 1

If you shut your eyes and tried to figure out a way for
women to dress at such a time, you'd certainly hit on
something like what they wore. Everything had to be
done very quickly, including dressing. Everything that
was formerly covered up had to be uncovered and every-
thing that was uncovered had to be covered up. Women
had to be men. There was no subtlety about anything.
Modesty has, in fact, never been the same since.

So you had women running hectically about in little bags
. their breasts bound and flat, their hips concealed

by calling them waists, waving their uncovered legs in

the air. Unnatural, mad as prosperity itself.

, 2

Then came the depreSSion . .

 

1Elizabeth Hawes, Why Is a Dress? (New York: The
Viking Press, 1942), p. 73.

 

2
Ibid.

 

22

CHAPTERIH
BACKGROUND CONDITIONS OF THE PERIOD

In order to understand the changes that took place during
the decade of the nineteen-twenties, it might be well to look at the

earliest days of the post-war decade.

Political and Economic Scene

 

In November of 1918, the Armistice was signed which
brought to a close the first great war, World War I. On the morning
of November 11, 1918, President Woodrow Wilson wrote this message
to the American people:

My Fellow Countrymen: The armistice was signed this
morning. Everything for which America fought has been
accomplished. It will now be our fortunate duty to
assist by example, by sober, friendly counsel, and by
material aid in the establishment of just democracy
throughout the world.
Within this statement was the intent of a peace of reconciliation; one
which placed upon democracy the responsibility of aiding those less
fortunate than we. However, the era of peace that was to have begun,
was not entirely free from strife. Despite the fact that the war was
"officially" over, evidences of the bitterness that it had invoked in

the minds of Americans appeared throughout the country in riots

against the Germans .

 

1
Frederick Lewis Allen, Only Yesterday (New York:
Bantam Books, 1959), p. 11.

 

23

Even as the soldiers returned home and certain articles
of food, such as sugar, became less scarce, the people went on thinking
with the mind of a nation at war.1 They had learned to strike back at
the thing they hated. Germany had been struck down and now the
threat of Bolshevism spreading from Russia to the rest of Europe and
possibly to the United States loomed on the horizon. The nation had
formed the habit of summary action and it was not soon unlearned; only
the circumstances and the methods had changed. A week after the
Armistice, Mayor Hylan of New York forbade the display of the red
flag in the streets and ordered the police to "disperse all unlawful
assemblages. ”2 A mass meeting of Socialists in Madison Square
Garden required twenty-two mounted policemen to break up the milling
mob and restore order. Other riots also occurred.

America, like other nations, had gone deeply into debt
as a result of the war. In 1914, our national debt was $1,188, 235, 400;
in 1921 it was $23, 976, 250, 608. 3 The economic structure of the
country was made seemingly more powerful. The factory capacity
had been greatly speeded up, first to supply the war needs of Europe,
and later our own. The postwar result was that the ability to produce

was greater than the peacetime capacity to consume, and was greater

 

1

Ibid., p. 13.
Z .

Ibid., p. 14.

3
Mark Sullivan, Our Times, Vol. VI, The Twenties (New
York: Charles Scribner's Sons, 1935), p. 11.

 

24
than we could find markets abroad when other nations returned to normal
production.

Similarly, agricultural production had been stimulated
and expanded to feed peoples of warring nations who had previously
been supporting themselves. In the process, prices of farm products
and farm land, had risen to fantastic heights. In the speculative
buying, many mortgages had been given . . . ones which would be all
but impossible to pay once prices would start to fall.

The war itself accelerated economic and social ferment.

It had brought about a change in the status of large numbers of persons.
There was a "new rich" and a "new poor. "1 With wartime inflation,
the purchasing power of the dollar had sunk and those who had fixed
incomes had become the ”new poor. ” These were those who live upon
the returns from bonds, mortgages, and rents, government employees,
school teachers, and college professors. The "new rich" were those
whose wealth was in lands, goods, shares in corporations, and who
therefore profited by the rise in prices.

During the war prices had soared and at the end of the war,
with no controls, they continued to climb. Employers watched with
resentment the rising scale of wages paid to labor. They wanted to
teach labor a lesson. On the other hand, labor, facing a mounting
cost of living, and realizing that it was no longer unpatriotic to strike

for higher wages, decided to hit back at management. The ensuing

 

llbid., p. 13.

25
result of these contradictory ideas was a series of bitter strikes and
lockouts. In addition, with buyers on strike, markets became over-
loaded and an economic depression set in, stifling business.1 The
peak of this problem occurred during the period 1919-1920, but the
effects extended even into 1921 and 1922.

The postwar period saw more fervor, emotional patriotism,
intolerance toward suspect loyalty, and hopeful chanting of the slogans
of democracy and peace than this country had ever seen before. War
enforced an uneasy national unity; people were disposed to work off
their built up grudges on the outside enemy. However after the war,
the rising prices, war fatigue, a desire to reap the much advertised
fruits of democracy, and the desire to release wartime tensions, gave
vent to another social problem . . . race riots. Now instead of the
"outside enemy, " the people were fighting the "next-door enemy. "

In addition to isolated incidents, in 1919 the Ku Klux Klan was openly
reorganized in many parts of the country and its influence on racial
tensions was greatly felt. The postwar period was one of strikes,
waves of radicalism, uncomfortable cost of living, and general tension.
"The American people were tired . . . tired of war, responsibility,
idealism, regulations, and duties. They wanted to relax, have a good

3
time, make money. " In 1920 Warren G. Harding was elected to the

 

1Agnes Rogers, 1 Remember Distinctlj (New York:
Harper 8: Brothers, Publishers, 1947), p. 28.

2Ibid., p. 25.
31bid., p. 32.

 

26

‘

presidency with his statement of a return to "normalcy. " "The easy-
going years, the let's-forget-it-all-and-have-a-good-time years, were
beginning with corruption in Washington. "

On March 4, 1921 Harding took the oath of office and the
reign of normalcy had begun, and so had “The Lawless Decade, " so
aptly named by Paul Sann in his book of the same title. The general
conditions of the country on that day may be summed up thusly:

--the war had been over for more than two years,

although a technical state of war still existed between

Germany and the United States.

--business was collapsing into depression and
dragging down the price level.

--the Big Red Scare was gradually ebbing.

--the Ku Klux Klan was acquiring its first few hundred
thousand members.

--the Eighteenth Amendment was in its second year
and rum-runners and bootleggers were acquiring confidence
in their operations.

--the first radio broadcasting radio station in the
nation was hardly four months old and the radio craze was

not yet begun.

--a crime commission had just been investigating
Chicago's crime wave.

--Judge Landis had become the czar of baseball.

--Dempsey and Carpentier had signed to meet the
following summer at Boyle's Thirty Acres

 

llbid., p. 35.

2Allen, op. cit., p. 88.

27

--Main Street and The Outline of History were
becoming best sellers.

 

 

--skirts climbed half-way to the knee and seemed
likely to go down again.

--the sins of the flapper were disturbing the
nation; it was about this time that Philadelphia intro-
duced the "moral gown, " and the Literary Digest
featured a symposium entitled "Is the Younger Generation
in Peril ?"

 

There was a growing apathy toward anything that reminded
the people of war. They didn't want to be told of new sacrifices .
they felt they had done enough. The nation was spiritually tired . . . of
the war excitements, of political idealism, and of America's duty to
humanity. They wanted quiet and healing; a chance to pursue private
affairs free from governmental interference and public affairs.

However the political scene during the administration of
Harding was filled with scandal, most of which came into the open
after the sudden death of the president on August 2, 1923. The
reaction of the public to this situation? The harshest condemnation
by the press and the public was reserved for those who insisted on ‘
bringing the facts to light, not for those who defrauded the government.1
This, almost more than anything else, reflects the general desire of
the people to be left alone, and illustrates their political apathy.

When Calvin Coolidge took office in 1923, the nation was

on its way to a business revival . . . one that was to reach a height

never before or since seen in American economy. The economic

 

11bid., p. 109.

28
plateau represents nearly seven years (1923-29) of unparalleled
prosperity. They were years during which the nation might have
been disillusioned about politics, religion, and love, but it was
believed that the end of the rainbow held the legal tender of the
prosperity of American industry.

Between 1921 and 1929 industry reported a gain of more
than fifty per cent in the value of its products. In the latter year,
iron and steel, machinery, automobiles, petroleum, textiles, pre-
pared foods, and the other products of American manufacture reached
a total value of $68, 000, 000, 000.1 The task of marketing these pro-
ducts led to a phenomenal expansion in wholesale and retail trade.
Selling became as important as manufacturing. The measure of its
success was a total sales of almost $50, 000, 000, 000 through the
retail stores dealing directly with the great consuming public. An
expanding foreign trade also helped absorb industrial output, total
exports rising from $4, 485, 000, 000 to $5, 241, 000, 000. 2 [Even more
than in previous years, it was the domestic market that enabled
industry to expand so spectacularly, for the purchasing power of

\
the American people themselves held the secret of the prosperity]
lThe national income naturally rose in response to such

advances in industry and manufacture. It was estimated at

$66, 000, 000, 000 at the opening of the nineteen-twenties, and at

 

1Foster Rhea Dulles, Twentieth Century America (Boston:
Houghton Mifflin Co. , 1945), p. 261.

 

2Ibid., p. 262.

$82, 000, 000, 000 at their closeli‘iThis total was by no means evenly
divided among American families; but there were relative gains all
along the line. While income taxes and other criteria revealed that
the rich were becoming richer, with new additions every year to the
swelling roster of millionaires, other classes, including professional
workers, businessmen, and white-collar workers were also earning
more money.

The underlying factors responsible for the general pros-
perity of the nineteen—twenties (on the industrial scene) were the
efficient exploitation of natural resources, improved methods of
i‘ndustrial production, and the intensive development of both domestic
and foreign trade. Good times were perhaps even more directly due
to the spectacularly rapid expansion of a number of key industries.
Some of them were entirely new; others were undergoing their period
of greatest growth. Together they gave a tremendous impetus to
economic development all along the line. The automobile industry
may well have been the most important of all, for both at home and
abroad it became a token of American prosperity during these haly-

con~ days.

 

1
Ibid.

 

2Ibid., p. 264.

29

30
The Automobile

 

Automobiles appeared on the American scene as early
as the late 1800's, and it wasn't until about the turn of the century
that the "horseless carriages“ began to be produced in quantity and
sold in that same way. 1 The nation learned with amazement of this
new fantasy, and realized gradually that it might eventually prove to
be practical. And so the age of the automobile had begun . . . and it
grew. The transformation actually began in 1919. 2 After the war
a newly mature generation of Americans held a very different point
of view on the automobile than that of their elders. It was not con-
sidered merely a luxury and an instrument of recreation, but was
regarded as a year-round, day-and-night utility. For many it was
a means to augment earning power; for most it was a convenience
capable of increasing personal comfort. With this attitude, the era
of the linen duster and goggles came to an end as closed cars were
introduced . . . vehicles usable in all weather conditions. In ten
years, the national registration of automobiles leaped from six to
twenty-three millions. 3 During the twenties the automobile became
both a utility and a plaything to be used and enjoyed by the average

American.

 

1Lloyd Morris, Not So Long Ago (New York: Random
House, 1949), p. 260.

 

21bid., p. 379.

3Ibid.

31
Aside from (but not incidental to) the economic aspects
of the growing production and usage of the automobile, were changes
in the national mores. In 1925, a resident of the middle-west in
talking with the sociologists Robert S. Lynd and Helen Merrell Lynd
asked: "Why on earth do you need to study what's changing in this
country ?" And he went on to remark, "I can tell you what's happening

1
in just four letters: A-U-T-O!" In Middletown, the Lynds noted

 

several factors regarding the automobile in American life, among
them were: auto ownership had reached the point of being an accepted
essential of normal living; landscaping had given way to the needs

for a garage and driveway; evening and Sunday afternoons were

spent on the road not in the parlor; and the family car had become

as important as the physical appearance of the home, with people often
mortgaging the home in order to purchase an auto. Some families
even reported a preference to go without food, clothes, and indoor
bathroom facilities to satisfy their desire for the vehicle.

The use of the automobile was upsetting various old-
established social adjustments, and coming into conflict with emotionally
charged sanctions and taboos. The Sunday drive in some cases became
all-important. Because of this, the automobile was regarded, by
conservative folk, as "a threat to the church, " and clergymen,

aware of the impatience of their congregations, were promising to

 

1
Ibid., p. 381.

32

dismiss them at an earlier hour. 1

The automobile caused social problems as well. It often
was a source of friction between children and their parents. It made
it ‘possible to join friends motoring to another town without asking
permission. In many cases, the family car was an important criterion
of social eligibility. The automobile was also replacing the parlor
as the location of courtship preliminaries. It offered not only improved
means of transportation but, for the young people, a means of escape
from parentallchaperonage. It provided both young and old with a
"room protected from the weather which could be occupied at any

time of the night or day and could be moved at will into a darkened

byway or country lane. ”

Media of Communication

 

Symptoms of the changing temperament of the day were
the emergence of new things to bedazzle the public. Radio broad-
casting was especially important. When the United States entered
the First World War, there were between three and five thousand
amateur wireless operators in the United States. By the time hos-

3
tilities ceased, the number had almost doubled. The next few years

 

11bid., p. 381.

2'Allen, op. cit., p. 70.
3Morris, op. cit., p. 435

33
were ones of experimentation with the media. The first commercial
station KDKA, was opened in Pittsburgh, Pennsylvania on November

1
2, 1920, by Dr. Frank Conrad. The station was operated by the
Westinghouse Company, and their first broadcast announced the
Harding-Cox returns. At first, this new revolution in communication
and public entertainment made slow headway but the tide grew.
Eighteen months after the inauguration of broadcasting, two hundred
and twenty stations were on the air in the United States, and a new
. 3 . .
craze was sweeping the country. By the spring of 1922, it seemed
certain that broadcasting was to become a permanent and expanding
enterprise. In the opinion of David Sarnoff, it promised to be an
activity of national rather than merely local scope. Broadcasting
- stations, he surmised, would ”ultimately be required to entertain
. 4 . . . .
a nation." As stated by Frederick LeWis Allen, in his book Only

Yesterday, radio ". . . was destined ultimately to alter the daily

 

habits of Americans as profoundly as anything that the decade produced. "
During the winter of 1921-22, the craze came in with a

rush. A San Francisco newspaper described the discovery that millions

were making: “There is radio music in the air, every night, every-

where. Anybody can hear it at home on a receiving set, which any

 

1Allen, op. cit., p. 32.

2 . .

Morris, op. c1t., p. 439.
3 .

Ibid., p. 441.

4Morris, op. cit., p. 445.

34
boy can put up in an hour. ” Newspapers brought out radio sections,
and hitherto unmechanical people puzzled over articles about circuits,
tubes, and condensers.

In the Readers' Guide to Periodical Literature for the years

 

1919-21, there were two columns of references to articles on Radicals
and Radicalism and less than a quarter of a column of references on
Radio. By contrast, in the account of 1922-24, the section on Radicals
and Radicalism shrank to half a column and the section on Radio
swelled to nineteen columns. This alone is an index to more than
merely quantities of periodical literature.

Radio made it possible for people all over the country to
share together the experience of hearing an event actually happen.
It aided in the rapid spread of information and was a means of uniting

the country by direct communication.

The Motion Picture 3

 

Motion pictures were available to the public as early as
1892 in Penny Arcades, Peep Shows, or Kinetoscope Parlors. By
1900 they often were the last bill on a Vaudeville show.1 During
World War I the arrival of partisan films from Europe opened the

box office possibilities. Birth of a Nation demonstrated that the

 

screen was an unrivaled medium for propaganda and polemics.

 

1Richard Griffith and Arthur Mayer, The Movies (New York:
Simon 8: Schuster, 1957), p. 35.

 

2Ibid., p. 113.

35

By the middle of 1918, the movie industry was deeply
involved in the war effort. Theatres were used as community centers
for fund-raising rallies; "picturettes" urged the purchase of Liberty
Bonds; leading stars participated in the fund drives. Movies them-
selves were full of Red Cross nurses, Gold Star mothers, heroic
infantrymen, spies, and saboteurs. "The movies contributed more
than their share to the 1918 wave of hysteria which saw sabotage in
every accident, and a sinister plot in any unusual occurrence. "
Small children fled from a stranger in a mustache, since they knew
from the "silver screen” that a stranger with a mustache was a
German spy.

During the prewar period, a movie family of types was
developed. 2 It included the Hero, the Heroine, the Mother, the
Villain and the Vamp. Each had a cut and dried set of characteristics
and could always be readily identified on the screen; in addition, "good"
would almost invariably triumph over "evil. " The postwar period
brought about a change. The new public wanted "courage and weakness,
evil and good, all mixed up in a cocktail of human fallibility. "

During the war, the middle class became a part of the
movie audience. The wartime need for escape and for news gradually

overcame the prejudices of the nickelodean days. Theatres became

 

1Ibid., p. 119.

 

2Ibid., p. 63.

31bid., p. 132.

 

 

36
more lavish; the tastes of the people were changing. Cecil B. De
Mille believed that the straight-laced Puritanism of prewar days was
weakening. He produced pictures to show at length and in detail what
people ought po_t to do. He introduced bathing as an art, and disrobing
as a prolonged rapture. He had heroines wearing the best Parisian
and New York styles. These costumes were copied all over the
country. However he was not specifically concerned with being
fashionable but with being sensational, so he used the best designs
but in a more exaggerated state. There was no concern that a middle-
west waitress might copy the exaggerated version.

"The movies had made themselves a fast transmission belt
for the Jazz Age ideas and nothing could arrest the process. In spite
of censorial and ministerial protests, the young knew what they
wanted to see on the screen, and many of their elders, despite their
protestation, wanted to hear the same. "1 The movies played almost
incessantly on the same lucrative theme . . . sex. The producers of
one picture advertised "brilliant men, beautiful jazz babies, champagne
baths, midnight revels, petting parties in the purple dawn, all ending
in one terrific smashing climax that makes you gasp. " Another
promised "neckers, petters, white kisses, red kisses, pleasure-
mad daughters, sensation-craving mothers, . . . the truth . . . bold,

naked, sensational. "

 

llbid., p. 191.

ZAllen, op. cit., p. 71.

37

The storm of protest from church organizations led to
the installation of Will H. Hays, President Harding's Postmaster-
General, as the arbiter of morals and taste in films. Yet even with
the almost obligatory moral endings, the films continued in their
path through the decade.

It was during this decade that the new elite of the movies
replaced, in the imagination of the American people, an older elite
of industrial wealth. The social authority passed to Hollywood and
the movie stars. "Thereafter, it (Hollywood) was to exercise a pre-
dominant influence on fashion, manners, morals and the complex art
of civilized living. "

Hollywood in the Twenties was garish, extravagant,
ludicrous, acquisitive, ambitious, ruthless, beautiful
. which was just what its world public wanted it to
be. Its very unreality was protective of the illusion
. dream worlds are not supposed to be lifelike. 2'

The influence of the motion pictures on the people was
powerful for several reasons. They presented real people in settings
that could be imagined to be real. Many of the films presented
revolutionary ideas on life and morals . . . ideas that fascinated the
younger generation . . . ideas that they wished to emulate. They
were influential in the spread of ideas and fashions to the entire

country in a comparatively short period of time. They laid heavy

emphasis on sex and the morality of the stars became the ideals of

 

1Morris, op. cit., p. 139.

2
Griffith and Mayer, op. cit., p. 231.

38
many citizens of all social and age levels. The real influences of
a media such as this can never be measured accurately, only inferred

by certain trends.

Print Media

 

During this same period a crop of sex and confession
magazines appeared on the news stands.. The publishers of these
learned to a ”nicety the gentle art of arousing the reader without
arousing the censor. 1 While always providing a moral ending they
concentrated on the description of what they called "missteps. "
Stories were offered with such titles as "What I Told My Daughter
the Night before Her Marriage, " "Indolent Kisses, " and "Watch

Your Step-Ins. " Bernarr McFadden's True Story, launched as late

 

as 1919, had over 300, 000 readers by 1923; 848, 000 by 1924; over
a million and a half by 1925; and almost two million by 1926. 2 These
figures speak for themselves.

The tabloids were also growing in popularity. They
presented American life not as a realistic struggle, but as "a three-
ring circus of sport, crime, and sex. "3 In varying degrees, to meet
the pressure of competition, other papers followed suit. Spectacular
accounts of "Peaches" Browning, the Arbuckle scandal, and other

current happenings, provided the average man with sufficient material

 

1Allen, op. cit., p. 71.
2Ibid.
31bid., p. 57.

 

39
to aid him to forget to be class-conscious.
Books too, became an important part of American life.

Among the popular releases during the decade were The Outline of

 

History by Wells; Main Street by Sinclair Lewis; and White Shadows

 

 

of the South Seas by Frederick O'Brien. The Sheik both in book and

 

movie form showed the public about "hot love in hot places. "1 There
were many other publications by eminent authors. The twenties were
a time of resurgence in American writing. Sinclair Lewis, Willa
Cather, John Dos Passos, F. Scott Fitzgerald, Theodore Dreiser,
Ernest Hemingway and others were breaking new ground in fiction.
Their writings reflected the mood of this generation. They were not
the whole of the generation but their writing had an influence greater
than their number. 2 They called themselves "the lost generation, "
a phrase first applied to them by one of their idols, Gertrude Stein,
in a conversation with Ernest Hemingway.

One of the most influential publications of the decade

was This Side of Paradise written by twenty-four year old F. Scott

 

4
Fitzgerald, in 1920. With this book, he called attention to the

generation. In it and also in The Jazz Age (by which he named the

 

twenties) he provoked interest in and imitation of, what he wrote.

 

1Allen, op. cit., p. 57.

2Sullivan, op. cit., p. 380.

3Ibid.

 

4Sullivan, loc. cit.

40
His writings described the futility of the times and while not necessarily
being autobiographical, they were of sufficient interest that they

provided a blueprint for many of his generation.

Prohibition

 

On midnight of January 16, 1920, the Prohibition Amendment
went into effect. Since June 30, 1919, the country had been under
the wartime prohibition act. 1 Consequently, the going into effect
of the Eighteenth Amendment was not accompanied by the closing of
saloons or by any other happenings connected with the physical dis-
appearance of liquor from American life. It had been a war-time
argument that a sober soldier was a good soldier and a sober factory
hand a good factory hand. This idea got such overwhelming support
that the "wartime" dry act was passed and went into effect on July 1,
1919, and almost without opposition. On the last day before the
Prohibition Amendment went into effect in 1920, the Anti-Saloon
League of New York issued an exultant statement: "At one minute
past twelve tomorrow morning, a new nation will be born. . . . Now,
for an era of clear thinking and clean living!"2

The Eighteenth Amendment aroused no organized opposition;
the Senate debated thirteen hours and the House, seven. The prospect

of national sobriety infatuated the American conscience, which was

 

1
Rogers, 1 Remember Distinctly, op. cit. , p.22.

 

2Ibid., p. 45.

41
pitched to the highest idealism by a great crusade . . . a war to end
all wars forever. Then suddenly, idealism collapsed. When the
amendment became effective in 1920, Americans were tired of causes.
All at once the nation went on the "greatest, gaudiest spree in history. "
The law that had the greatest impact on the land evoked the least
obedience from the people. Liquor flowed like a "giant waterfall"
during the thirteen years called by Herbert Hoover ". . . an experiment
. noble in purpose. “2 According to Paul Sann, prohibition was the
greatest single factor in the lawlessness of the Lawless Decade.
Evasion of the law began immediately, and sincere oppo-
sition to it quickly gathered force. The results were the bootlegger,
the Speakeasy, and a spirit of deliberate revolt which, in many places,
made drinking the ”thing to do. ”3 In 1923, H. L. Mencken said of
prohibition: "The business of evading it and making a mock of it has
ceased to wear any aspects of crime, and has become a sort of national
sport. " '
From this, came further results: the use of the hip-

flask, the cocktail party, and the transformation of drinking from a

masculine prerogative to one shared by both sexes together. To

 

1Lloyd Morris, Postscript to Yesterday (New York: Random
House, 1947), p. 68.

 

2Sann, op. cit., p. 7.
3Allen, Op. cit., p. 71.

4Sann, op. cit., p. 90.

42
quote in part from Elmer Davis in reference to father going
down to Cassidy's bar with the boys" . . . father may
still go down there of evenings, but since prohibition mother goes
with him. "1 The speakeasy was illegal, but was always to be found.
Something else was added . . . "women, traditionally barred by
customs from the saloons, but a decidedly welcome fixture in the
new style oasis. "

Lawless gangs were no novelty to Americans, but pro-

hibition and public cynicism lifted them to unprecedented power,
wealth, and violence as the twenties wore on. During the era Of
gangsters and racketeers which extended from 1920-19403 Americans
witnessed the creation within the body politic, of a "new" society,
based on lawlessness; one which enforced its own codes by a private
police system; set up its own industrial combinations, bankers, and
legal staff; organized its own distributive outlets; and finally appointed
its own "impartial arbiters“ to regulate internal conflicts of competition,
when violence had become too costly. 4 By the early twenties, crime
had become ”big business. " Sanctioned by custom, it wore the guise

of legitimacy; for it accorded with the requirements of logic if not of

 

1Allen, op. cit., p. 70.

2'Sann, op. cit., p. 195.

3Morris, Postscript to Yesterday, op. cit., p. 65.

 

4Ibid.

 

«— ‘fi " H

43
1
law. It was abetted by the people and protected by their chosen
officials. The patronage of millions of otherwise ethically upright

people, made its efficient services profitable. "The nature had not

changed. The mood of the American people had. So had their

folkways. "2

A Treasury Department report showed that between 1920
and 1928, the government had fired 706 Prohibition agents and pro-
secuted 257 others for taking bribes. Elmer L. Irez, Chief Treasury
man, termed the snooper band a "most extraordinary collection of
political hacks, hangers-on, and passing highwaymen. "3 A related
incident is that of Captain Daniel Chapin in New York, who lined up
the agents on his staff and ordered them to extend their hands. "Now, "
he said, ”everyone of you . . . with a diamond ring is fired. " That
took in about half of them.

The number of "speaks" in New York City alone was reputed
to stand at thirty-two thousand. This was the unofficial estimate of
the Commissioner of Police Grover Whalen. The"'speaks" were
housed in New York brownstones and also in nightclubs. They were
opened and closed frequently to confuse the police. The most cele-

brated figure in this atmosphere was Miss Texas Guinan, who in ten

 

1Ibid., p. 67.

 

2Ibid., p. 68.

 

3
Sann, op. cit., p. 203.

41bid.

 

44
months of heyday, converted a slight investment into nearly one million
dollars. Needless to say, prohibition was a lucrative proposition

for many of America's citizens.

Some Fads and Trends

 

Shortly after the war, Joseph P. Babcock, codified and
simplified the rules of the Chinese game Mah Jong for the. American
public. It was introduced to the United States and in less than a
year, the craze had become so universal that Chinese makers of
sets could no longer keep up with the demand and American ‘manufacture
was in full swing. 1 A Mah Jong League of America was formed and
the correct dinner party wound up with everyone engrossed in the game.

Preceding the climax of Mah Jong was the appearance of
Emil Coué from France. He rapidly became the most talked of person
in the country. 2 Institutes were established and hundreds heard his
formula: "Day by day in every way I am getting better and better. "

Sports during the decade became an obsession. Boxing
matches, baseball games, college football, golf tournaments, tennis,
horse racing, and other sports became almost all important. Atten—
dance at many of these events broke records both for number of people
and the amount of money collected. A most noteworthy feature about

the sports of this period, was not so much the star prowess, but

 

lAllen, op. cit., p. 78.

2Ibid.

 

45

"the vast publicity that surrounded them, the adulation they received,
and the hugely increased amount of money taken in at sporting events. "

Food fads also appeared. The sudden craze for Eskimo
Pie brought, in three months, the price of cocoa beans on the New
York market up fifty per cent.2

Another new American institution caught the public eye
during the summer of 1921. . . the bathing beauty. In early July,
a Costume and Beauty Show was held at Washington's bathing beach
on the Potomac. In early September, Atlantic City held its first
Beauty Pageant. I

One of the very important influences on American thought
at this time were the works of Sigmund Freud. He had published his
first book on psychoanalysis at the end of the nineteenth century, ’and
had lectured to American psychologists as early as 1909. It was not
until after the war that the Freudian gospel began to circulate to a
marked extent among the American public. The one intellectual force
which had not suffered disrepute as a result of the war was science. .
The public was now absorbing a quantity of popularized information
about biology and anthropology which gave a general impression that

men and women were merely animals and that moral codes had no

 

1
’ Rogers, 1 Remember Distinctly, op. cit., p. 75.

 

2Allen, op. cit., p. 56.

3Ib-id., p. 69.

46
universal validity. Presently, one would begin to hear that "science"
taught new and disturbing things about sex. Sex appeared to be the
central force behind all thoughts and actions. "The first requirement
of mental health was to have an uninhibited sex life. If you would be
well and happy, you must obey your libido. ”1 Such was the teaching
of Freud as it imbedded itself in the minds of the public after having
been passed from one person to another without the real scientific

understanding of the original teachings.

The Role and Status of Women

 

The story of the American woman in the nineteenth century
is one of struggle for recognition, of her claim to equality with men
and often to superiority over him, and consequently the partial loss
of her own feminity. 2 It was in the nineteenth century that the first
signs of feminine revolt became evident. Women of leisure were
beginning to dominate the social scene. The increasing wealth of
the upper classes and the desire of these women to "do something"
contributed to the gilded age . . . an era of florid elegance and
ostentatious display. The less wealthy women relieved their boredom
in other ways, of which club life and religion were probably the most

important. The development of club life was rapid for it proved to

 

1Ibid.

 

ZEric John Dingwall, The American Woman (London:
Gerald Duckworth 8: Co. , Ltd. , 1956), p. 65.

 

31bid., p. 112.

47

be a time consuming diversion. A movement had also begun for

legal recognition of the rights of women which culminated in the

Suffrage Movement. This again was a sign of the revolt of women

to their status in America at the turn of the century-

From 1900 to the beginning of World War I there were

four marked trends in women's life, all continuations of movements

previously begun:

1.

changes in domestic and social habits as a result of the
influences of science, inventions, discoveries, and, as
a consequence of these, a reshaping of conventions.

a greater ipvasion of women workers into industry and
the professions and a breaking down of opposition to
this on the part of both men and women.

remarkable progress in women's organizations advancing
on four fronts.

a. to increase women's rights,

b. to provide opportunity for the expression of their
rapidly multiplying interests, particularly along
cultural lines,

c. to obtain protection and advancement in the industries
and professions,

d. to further religious, ethical, philanthropic, and
social reform programs.

a change in feeling, a new outlook on life, an unh‘eeded
recognition of value that more than anything else measured
the distance women had traveled toward social equality

with men. 1 '

 

Ernest Rutherford Groves, The American Woman: The

 

Feminine Side of a Masculine Civilization (New York: Emerson Books

 

Inc. ,, 1944), p. 325.

 

 

 

48

World War I greatly accelerated the social trends of
concern to women. It quickened women's rights movements in all
phases and aided in breaking down the barriers against their entranCe
in business and industry. This was the first time women of the
middle and upper classes had worked outside the home at such a
diversity of regular jobs.

The war broke the crust of tradition and allowed the seeds
of social change--new ideas--to come to life. It disturbed the pre-
vailing routine and brought to new importance the relationship be-
tween the sexes. Ideals and attitudes were shattered and revamped
according to new standards of life and conduct. The postwar period
was one of deviation from the "accepted" and found expression in
many ways. Work, education, pleasure, and amusement were the
subjects of discussion, experimentation, and speculation. A new era.
was being heralded--a liberal social order and a modern art expression.

During this time, women were also becoming emancipated
from routine to live their own lives; they were gaining independence
from the drudgery of housekeeping. Smaller houses were being built;
families were moving into apartments; women were learning to make
lighter work of preparing meals and many of the usual chores were
becoming simplified by machinery. All of these contributed to their

having more spare time and the result was that they moved into the

 

1Frank Alvah Parsons, The Art of Dress (Garden City,
New York: Doubleday, Doran 8: Co., Inc., 1928), p. 321.

 

49

business world, enjoying the economic independence that it provided.

In all, it may be said that the relative freedom that Women had gained
by the time the twenties were dawning, merely provided a background
for the revolution in the American way of life that was to follow.

The twenties were to bring to the American woman a way of life that
had never before appeared on the American scene. She was to fulfill
her desires for equality in a manner that more than likely, was never

envisioned by her predecessors in the suffragettes.

Changing Manners and Morals

 

Widespread defiance of the prohibition laws was only one
symptom of a pervasive change in American manners, morals, and
customs during the postwar years. Great numbers of people came
out of war experience feeling their ideals had been discredited, that
those who talked about standards of conduct were old-fashioned and
unrealistic, and ”that you might as well let the bars down and get
yourself a good time whenever and wherever you could. "1 The result
of this manner of thinking was a rebellion againstthe puritan code
of manners and morals; this was led by the "younger generation, "
who in great numbers went in for a new frankness of talk, an excited

interest in sex, a tolerant acceptance of alcoholic conduct, an acceptance

of the permissibility of the petting party, and a general lapse from

 

lRogers, I Remember Distinctly, op. cit., p. 50-.

 

50
gentility to rowdiness. This change, however, was not universal
for in many places the old code held firmly.

The war had taken millions of young people of both sexes
out of their accustomed environment and given them a taste of free-
dom under circumstances in which it didn't matter who said what.

As with many postwar reactions, this took a special form. It became
easy to think of themselves as a generation condemned to hell be-

cause of the mistakes of their elders, and whOse adminitions must
therefore be suspect. By 1920, the rebellion against puritanism

and stuffiness was widely visible, and it gained as the decade progressed.

For young Americans, this was a novel way of facing the .
future. They set out on life under the assumption that effort was
futile and failure inevitable. The truths that they had been taught no
longer were, in their minds, applicable to reality . . . they were
false to life and therefore wouldn't work. They felt their education
Was worthless; that their inherited culture was bankrupt; that this
was the hand of the past that had cheated them. 1

As a result of this feeling of being cheated, the war
generation was cynical rather than revolutionary. They had no interest
in politics and refused to be stimulated by the social or economic
problems facing the country. As John F. Carter said in the Atlantic

Monthly in September of 1920, "The older generation had certainly

 

1
Morris, Postscript to Yesterday, op. cit., p. 149.

 

51

pretty well ruined this world before passing it on to us. They gave
us this thing, knocked to pieces, leaky, red-hot, threatening to blow
up; and then they are surprised that we don't accept it with the same
attitude of pretty, decorus enthusiasm with which they received it,
way back in the 'eighties. "

Two generations were in conflict over this revolution.
There are several factors which may be stated as being the causes.
the cynicism about the old standards which followed the war
the rapid urbanization of a formerly rural society
a leveling of the social classes
an increase in wealth and leisure

the substitution of scientific for religious authority
the growing independence of women

O‘U‘In-kb-lNH

It should be understood at this point that no one of these
factors can or should be singled out as the principal factor in the
change that was taking place in this country during the twenties. Each
had its effect and their force when they were working together made
the result almost inevitable.

Youth at this time was finding itself in an entirely new
position than had its parents. The parents found that they had more
money and more time. They were able to give their children the
opportunities for education, leisure, and travel that they had not had.
Youth was emphasized; this was the decade of the young. 2 Youth felt

superior and defiant, and was convinced of its own importance. In

 

1
Jensen, op. cit., p. 157.

2Sullivan, op. cit., p. 385.

52
many instances the elders fed this egotism through imitation of
music, sports, dress, manners, and attitudes.

The "younger generation" combined with "the lost generation, "
took many of these new ideas quite seriously. The ideas they advanced
and the convictions they held, almost constituted a doctrine which one
of them said years later, "could roughly be summarized as follows:"

1. The idea of salvation by child-~the child must develop
freely without inhibitions

2. The idea of self-expression--the life purpose of each
individual is to express himself , '

3. The idea of paganism-~the body is a clean shrine to be
adorned for the ritual of love

4. The idea of living for the moment--live intensely for
the moment, even at the cost of future suffering

5. The idea of liberty--anything that prevents self-expression
or the full enjoyment of the moment should be abolished

6. The idea of female equality--women shouldbe the
economic and moral equals of men

7. The idea of psychological adjustment-~individual repressions
must be removed in order to be happy in any situation

8. The idea of changing places-by expatriating himself, the
artist can break the Puritan shackles, drink, live freely
and be wholly creative

One of the poets of the day, Edna St. Vincent Millay, wrote

a stanza which may well have been the cry of freedom for youth:

 

l
. Ibid. , pp. 390-392. The person referred to is Malcolm
Cowley, and the statement, here condensed, is taken from his Exile's
Return. '

53
My candle burns at both ends;
It will not last the night;
But ah, my foes, and oh, my friends,
It gives a lovely light.

"The most successful caricaturist of the wide-trousered,
coonskin-coated cake-eaters of the mid-twenties, and the short—
skirted, long-legged flappers, was John Held, Jr. ”1 Held was the
artist of youth in the Jazz Age. His sketches of"f1appers,” "jelly
beans, " and ”drug store cowboys, " were a gallery of drawings of the
youth of the day. The Held male was buried in a raccoon coat, with
slicked back. hair, wrinkled socks, and bell—bottomed trousers. The
Held flapper had stubby feet, long legs, a brief and skanty skirt,
circles of rouge on her cheeks, and the snug fitting cloche. Just as
the drawings of Charles Dana Gibson became the model for women
of an earlier period, so did the sketches by Held during the decade
of the twenties.

Girls were smoking in public and in mixed company.
While at the end of World War I there were a few women who smoked,
within a few years, millions took up the habit. Annual sales in 1920
showed 47 billion cigarettes sold, while in 1930 the total was 125
billion. 2 They were drinking too, whether in the "speak, " the private
club, or from their dates' hip flask at a dance.

Modern dance was also the subject of attack by parents

and church alike. Music was now jazz and blues, and the dancing

 

1Rogers, IRemember Distinctly, op. cit., p. 51.

 

2Ibid., p. 54.

54

matched the rhythm. In Cincinnati, the Catholic Telegraph spoke

 

out in righteous indignation, "The music is sensuous, the embracing
of partners--the female only half-dressed--is absolutely indecent;

and the motions--they are such as may not be described, with any
respect for propriety, in a family newspaper. Suffice it to say that
there are certain houses appropriate for such dances; but those houses
have been closed by law. "

A good indication of the change taking place was the rapid
and drastic change that took place in feminine attire. Girls, with
their new found freedom as gained by suffrage rights, educational
opportunities, and industrial positions, were rebelling against the
demure attire that had been theirs for the previous decades. The
- hemline rose steadily, to reach an all time high in 1927. 2 The
silhouette was entirely changed, shoulder lines became more in-
conspicuous, and necklines were lowered. The bust-line was flattened,
waists became hips, and none of these features were prominent.

Hair was bobbed and faces painted. Cosmetics and facial treatments
began to be much more popular in the period immediately after the
war. In its most modern sense, glamour (often copied from movie

stars) first became popular about 1920, when interest in money and

3
sex was becoming acute. The body became the object of the greatest

 

1
Ibid.

 

2
Ibid. , p. 55.
3’Dingwall, op. cit., p. 134.

interest to its owner.

daintily perfumed.

Everything was done to make it sleek and

55

56

CHAPTER IV

THE STEREOTYPED FLAPPER

". . . and the fact is, women will wear anything under
the sun that is fashionable; and their wearing it will, for the
time, make it seem beautiful. "

Francis E. Russell

The Fashion Ideal

 

Fashion implies a certain fluidity of the social structure
of the community. Differences of social position exist but it must
seem possible and desirable to bridge them. The ultimate and essen-
tial cause of fashion lies in social and sexual competition. The
social is the more obvious and manifest, while the sexual tends to
be more indirect and unavowed.

The paradox of fashion is that everyone is trying at

the same time to be like, and to be unlike his fellow men

. to be like them insofar as he regards them as superiors,
to be unlike them (in the sense of being 'more "fashionable")
so far as he thinks they are below him. 2

FashiOns are not accidental occurrences. They represent
long evolution. They are expressive of the needs of women in relation
to their social lives at a particular time. They are related to

availability of materials and inspirations. New fashion trends emerge

from those of the past as reinterpretations, in terms of the needs and

 

1J. C. Flugel, The Psychology of Clothes (London: L 8: V

Woolf at the Hogarth Press, 1930), p. 138.

 

2Ibid., p. 140.

57
visions of the present. "We use the language we were born with
and change it to fit the circumstances of the moment. ”

In tracing variations in dress you can discern distinct
signs of the times . . . the spiritual or material aspirations of a
people. The modes of dress signify certain established ideals,
aesthetic, religious, or political, in the group or nation which creates
or adopts them. 2 Study of periods when change is most in evidence
suggests that it is an expression of a questing, exploring, and rest-
less attitude. It symbolizes, by a break with tradition, a groping
after freedom. It is in times when the ideals, sometimes called
revolutionary, are in ascendant, that fashion moves in swift strides.

If new fashions are to be successful, they must be in accor-
dance with certain ideals current at the time they are being launched.
Women must be able to see in them a symbol of an ideal that is before
them. However, there need not be a conscious realization of the real
significance of these symbols. The fashion ideal is that "fashionable
figure" that women tend to emulate in dress and action.

Each fashion change brings with it proportions of the
human figure which are considered ideal. With the advent of the

youthful figure during the period of the First World War, popular

 

1 .
Morris de Camp Crawford, "Fashion Significances; The
1920's: The Fashions and the Art Inspiration, " April 4, 1949, p. 3.

2Katherine Rucker, "Costume as an Expression of Ideals, "
Lotus Magazine, Vol. 11. No. 1 (January, 1920), pp. 457-460.

58
admiration for the mature, fully developed figure waned. The ideal
silhouette became a straight rectangle. The figure was slender and
flat busted, with a very long waist and small hips. 1 This figure
represented the final apotheosis of the youthful ideal when youth had
come into its own.

Since the turn of the century there have been several
marked changes in the fashion silhouette which have been considered
ideal. The mood of the '80's and '90's regarding the position and
behavior of the well bred young lady lingered beyond the turn of the
century in the United States. Women were placed on a pedestal.

The Victorian ideal of the sheltered lady was generally accepted in

the early twentieth century as representative of the most enviable
status a woman could have.2 This situation existed despite the growing
revolt of certain strong minded women for feminine equality.

The twentieth century ushered in pomp and circumstance.

— There was a great deal of new wealth and those possessing it were
quite candid about advertising the fact. The Edwardian Period,
1900-08, is characterized by the Gibson Girl, a fully matured figure.3
She wore a straight front corset which completely merged the shape
of the breasts into a sculptured sloping front, which was veiled by

hanging draperies or by the cut of the garment. The skirts fitted

 

1Eddy 8: Wiley, op. cit., p. 150.

2Rogers, Women Are Here To Stay, op. cit. , p. 36.

 

3Cunnington, English Women's Clothing in the Present
Century, op. cit., p. 28. '

 

59
snugly over the hips by use of pleats and tucks, and flared slightly
at the hem to a bell shape. The entire spirit of the Edwardian design
was . . . "to combine suggestion with concealment. "1 The natural
result was that the mature, rather than the youthful figure, was
favored as the ideal for fashionable women.

1909—14 was the period of the hobble skirt. Emphasis
was placed on the vertical line. These costumes were strikingly non-
sensual and were better for younger girls. This was a time when
the battle for women's suffrage became more acute and there was the
threat of impending war. The silhouette became slimmer and straighter
and the skirts cleared the ground. Hints of youth that began at this
time were even more prevalent during the years 1915-18. The
schoolboy figure began to emerge. 2 The postwar period proved to
be the culmination of the emphasis on youth in fashion.

With the loss of males due to the war fatalities, the
numerical balance of the sexes was upset. A movement away from
the old sexual inhibitions began. Since abnormal psychological
conditions will often find expression in characteristic fashions, the
postwar women glorified the boyish ideal. The men who did return
from the service found poor economic conditions; many didn't care
to settle down to routine life. They sought and found appeal in the

nonmaternal, school-boyish girl. The 1920 fashion ideal ". . . such

 

1
Ibid.

 

Ibid., p. 118.

60
enchanting sexless, bosomless, hipless, thighless creatures. "

The fashionable aim of 1918-28 was to reduce a woman's
chest to the flatness of a man's. 2 Elastic bodices were introduced
to prevent the least hint of undulation. The essential quality of the
fashions all through the twenties was this expression of undeveloped
youth. It gradually changed from a "neutral" sex verging on the
male adolescent, towards the female adolescent, and finally emerging
by 1929-30 into feminine womanhood.

These changes in fashion--the boyish form, the short
skirts, the lowered waistlines, and the obvious use of cosmetics--
were very concrete signs of a change in the American feminine ideal.
Perhaps too, it was a change in men's idea of what was the feminine
ideal. The flapper of the twenties wanted to allure man, but her
ideal was not based on maturity, wisdom, or grace. She sought
slenderness, flat breasts and hips, little-girl short skirts, and lOng
waists. All of these indicate a worship of unripened youth. She
aimed at being the casual companion of man and his irresponsible play-
mate, not the mature, developed hourglass type. The youth pattern
was one of sex rather than love. Her statement to man was, in effect,

You are tired and disillusioned, you do not want the cares
of a family or the companionship of mature wisdom, you

 

1Ibid. , p. 153.
2 .
Moore, op. c1t., p. 23.

3Cunnington, English Women's Clothing in the Present
Century, op. cit., p. 148.

 

 

61

want exciting play, you want the thrills of sex without their
fruition, and I will give them to you.

In essence this figure was the fashion ideal of the decade
of the nineteen-twenties. It was one that sacrificed the femininity of
the womanly figure for the vertical lines of immaturity. Exaggeration
and extremes were the keynotes that appeared throughout the period
in all types of clothing. It was an ideal that was easy to attain only
for the very thin figure. It was a period of prosperity and carefree

abandon, and the fashions followed this path closely.

Who Was the Flapper?

 

The period of World War I and the following postwar
decade was a time of social and moral revolution in. the United States.
There were changes in the attitudes of the people and in their actions.
Most notable was the change in the American woman. She had gained
freedom and equality; she could be on her own and liked it, and what
is more, she showed it both in her dress and in her activities. These
evidences of her so-called emancipation may be regarded as something
of a triumphant gesture of freedom, for she now had self-confidence
and had gained the admiration of many. Out of this change has evolved
a figure of the American woman at this time and this figure has become
a stereotype, meaning a rigid type arrived at by mental association

._ _ 2 .
of generalizations relating to experiences. The stereotype involves

 

1Allen, op. cit., p. 76.
ZBogardus, op. cit., p. 28.

62
the tendency to apply the impressions that one has of the group to
every member of that group.

As stated in the Introduction, the flapper was one of
three new types of women that appeared on the American scene during
the twenties. She represented the quest for pleasure. Despite the
numerous references made to her, there does not seem to be any
clear-cut explanation of what or who she was. The flapper as she
has survived the years had become the emblem of a certain mode of
dress and certain actions. She was rarely praised but remained
the center of attention during her time. "The genus flapper was
deplored, analyzed, and eventually condemned. "2 Yet on the same
page of the same book, Margaret Story states ". . . she left her
legacy of freedom which made rapid strides toward physical comfort
and therefore toward health, simplicity which logically followed, and
toward frankness. " So the flapper was not all evil but it is was
because of the radicalness of her actions that she has been remem-
bered in a dim light.

The revolution in morals and manners may be illustrated

by this description.

 

1E. S. Bogardus, "The Groupistic Error," Sociolpgy and
Social Research, Vol. 33 (January—February, 1949), pp. 218-24.

 

 

 

ZMargaret Story, Individuality and Clothes (New York:
Funk 8: Wagnalls Co., 1930), p. 38. ' ’

3
Jensen, op. cit., p. 157.

63

Mother in 1900: laws must be obeyed
Hell is .a reality
woman was the guardian of morality who
must maintain purity and innocence
until marriage
little knowledge of sex

Daughter in 1920: smoking
drinking bootleg liquor
liked wild music and dance
went joyriding with boys in autos
The new girl wanted "to be the life of the party indoors or

~ 1
in the open roadster. She was a flapper now and raring to go. " The

John Held, Jr. cartoons that appeared in College Humor and Life did

 

 

much to establish types and make "flapper" and "Joe College" a part
of the language. See Plate A-0 for a typical Held flapper.

In The Crack-Up Fitzgerald said:

 

. this was the generation whose girls dramatized them-
selves as flappers, the generation that corrupted its elders
and eventually overreached itself less through lack of
morals than lack of taste.

It is extremely difficult to establish a particular age range
for the flapper. In most references, no age is even mentioned .while _
a fswfltend fight?.111.0S_§._._S.P,¢_9_i_ff_i__§;, However, it would seem that few
authors limit the flapper to a particular age range. It is a ".
general belief that the flapper is necessarily a very young person and
thatFlapperism is a new disease . . . . The fact is that Flapperism

is confined to no particular age. . . it is the result of an attitude

toward life . . . the young took it, made it their own, and ran it into

 

lSann, op. cit., p. 19.

64

PLATE A-O1

 

1

Rogers, 1 Remember Distinctly, o_p_. cit., p. 53. An
illustration by John Held, Jr. , taken from the cover of Life, Vol.
87, No. 2259 (February 18, 1926).

 

65

the ground. "1 Tilden goes on to say that the result of this attitude
toward life was "young folks in bobbed hair, knee skirts, and other
outbursts of Flapperism, including a general demeanor best summed
as bad manners. " In his article he describes at great length the
"Flapperdame" and the "Flapperooster, " making reference to both
the male and female "flapper" of the time period. His descriptions
are highly exaggerated versions of the flapper as she usually was
written about, yet it is not hard to conceive that this figure did have
its counterpart in reality. It always seems that some individuals will
carry an idea to absurd lengths to be in vogue.

Tilden was not alone in his commentary about the older
flappers. It was said by Annie Burnett-Smith in her account of the

2

American woman:

It worried me, an old fashioned person, to see so many
lovely and piquant faces so unnecessarily made-up.

Grandmamma, disporting herself in abbreviated skirts
and high-legged, coloured footwear, plus the inevitable
make-up, did not always appear to me an edifying spectacle.

A very excellent description of the flapper was, written by

O. O. McIntyre3 for College Humor. In this article he speaks of the

 

1Freeman Tilden, "Flapperdames and Flapperoosters, "
Ladies Home Journal, Vol. 40, No.5 (May, 1923), p. 16.

 

ZAnnie Burnett-Smith, As Others See Her (New York:
Houghton-Mifflin Co., 1919), p. 24.

30. O. McIntyre, "Are Collegiate Flappers a Flop 7",
The Collpge Years, A. C. Spectorsky, ed. (New York: Hawthorne
Books, Inc., 1958), pp. 471-74.

 

 

66

flapper as being the typical coed of the twenties, complete with all
the mannerisms and beliefs that pervaded the atmosphere of the
twenties. Rather than describe these, it might be well to see some
actual statements made by that author to better capture the spirit
of the times about which he was writing. In speaking about Joe
Doakes' daughter, Mary, coming home from four years at a finishing
school, she is "snapping a Dunhill lighter, inhaling a cigarette to the
ankles, and slithering a new Black Bottom step that is nothing less
than a panic. "

She can gulp six jolts of gin and thread a needle to sew up

a runner. Warbles of faithless lovers and downhearted

frails and seems about as helpful to her folks as a carbunkle.

Jn a few words, she knows her onions and is a red hot

sketch.

What a laugh for these tumultuous times when girls romp

home, give papa and mamma a pecking kiss, hop into the

roadster to flush out a reliable bootlegger, bring home the

makings . . . . i

We try to frown on all their unconventional gestures. We

call them--ha-ha--the "new degeneration. " We laugh at

their knickers. We are incensed at their cigarette smoking.

\Pulpiteers from their smug rostrums thunder their doom.

But the world spins on.

We don't understand them and frankly they don't give a hang.
They offer no alibi. They are themselves.

These few statements can, more than pages of descriptive
prose, illustrate what the flapper was in her day. She was new and
she was different, and fortunately or unfortunately, she was the ideal

of many.

67

The Flapper Stereotype in Terms of Dress

 

While the actions of the flapper have been the subject of
consideration, attention must be given to her appearance. It is most
often in terms of clothing that the flapper is described and presented
to the reader. The assumption is made that because her clothing
was so radically different from fashions of years past, so too, must
her behavior be radical. In manyinstances, the young did their utmost
to live up to this as sumptior’i. There were cases where this was true,
but it should be kept in mind that not all young people of this period
were taken up with these new ideas. It was because of the "newness"
itself that those who did follow the trends were the object of discussion.

Lloyd Morris in Incredible New York spoke of the flapper

 

as being "jaunty and feather footed in unfastened galoshes, flesh
colored stockings rolled to below the knee and the skirt barely touching
it. " In the same area he includes the older woman and says that

". . . the Fifth Avenue women didn't suggest motherhood or matrimony.
Peroxided or hennaed, shingled hair, plucked and penciled eyebrows,
eyelids beaded, cheeks and lips piquantly rouged. Except for furs,
clothes would have fit in a handbag. " ". . . the flapper came in to

the tune of '1311 say she does'—-and frequently she did. . . . "1

The use of make-up was daring and often as not, gave the

wearer a feeling of being a little "frolicsome, not to say wanton. . . . "

 

1Sann, op. cit., p. 43. Selected passages taken from
Incredible New York by Lloyd Morris.

 

2Dingwall, op. cit., p. 161.

68

The twenties was marked by growing attention to facial make-up.
The face mask with its plucked brows and unnaturally colored lips
resulted in a staring, expressionless Egyptian-like face.
Another of the apt and humorous descriptions of the

flapper was given by Oliver Jensen:

The flapper of 1927 or thereabouts, wore her skirts at an

all time high, a little above the knee, but revealed no other

charms. Her cloche hat had the texture and allure of a

ruptured tennis ball. Her breasts were flat and her waist

almost met her hem. She leaned backward as the Gibson

Girl bent forward. But she was able to breathe. 2

The use of the flattening brassiere was an important facet

of the dress of the flapper. Since the styles demanded the slim and
boyish look, these garments were designed to conceal the natural
curves of the body. While the use of undergarments was lessening,
this article (the brassiere) was of extreme importance, especially
to those more generously endowed. Doris Moore spoke of it as
". . . that vogue which so impressed the imagination that it will
probably eclipse all others in the sartorial history of our times,
though it lasted four or five years at most. "

The appearance of the flapper was not confined to the

twenties. As early as June, 1913, a new mode was announced by a

 

l
Cunnington, English Women's Clothing in the Present

Century, op. cit., p. 182.

 

 

2Jensen, op. cit., p. 141.

3Moore, op. cit., p. 23.

69
Danish fashion magazine as "The Revolution in Fashion: the New
Botticelli Figure. "1 This involved the body being carried with the
abdomen protruding slightly. It would seem logical to view this as
a forerunner of the debutante slouch previously described, which
was the characteristic stance of the flapper.

According to Frederick Lewis Allen in Only Yesterday,

 

the flappers wore ”this dress, short-sleeved and occasionally (in
the evening) sleeveless; some of the wilder young things rolled their
stockings below their knees, revealing to the shocked eyes of virtue
a fleeting glance of shin-bones and knee-cap; . . . . "

The image that may be drawn from these quotes and
references, is the figure that is the stereotype of the flapper. She
was the epitome of the desire for youthfulness. She had short, cropped
hair and wore the cloche. Her face was painted with cosmetics and
she wore extravagant jewelry. Her body was slim and flat and it
was emphasized by the formless lines of her clothing. Waistlines
were low and hemlines were high. The knee-rolled stockings were
her pet and the shoes had heels. It matters not that the daytime
dresses may have been more simplified in fabric and trimming, for
the image essentially remains the same regardless of the time of day.
The movies contributed to the stereotype with its portrayal of "flaming

youth. " The use of. beaded dresses and spangles only emphasized the

 

1Henny Harald Hansen, Costumes and Styles (New York:
E. P. Dutton 8: Co., Inc., 1956), p. 152.

 

70

fashion trends. The flapper remained the flapper. "If you had veiled
the faces of the feminine population in 1923 and 1924, you would have
had to resort to birthmarks and knock-knees for identification. "

Thus the flapper of the 1920's stepped onto the stage of
history, breezy, slangy and informal in manner; slim and
boyish in form; covered with silk and fur that clung to her
as close as onion skin; with carmined cheeks and lips,
plucked eyebrows and close-fitting helmet of hair; gay,
plucky and confident. 2

 

1
Frances Anne Allen, "Fig Leaves, " The American
Mercury, Vol. XIII, No. 49 (January, 1928), p. 62.

2Preston William Slosson, A History of American Life,
Vol. XII: The Great Crusade and After, 1914-1928 (New York: The'
Macmillan Co., 1930), p. 158.

71

CHAPTER V
WOMEN'S FASHIONS PRECEDING 1920

Since fashion makes its appeal to a wide range of desires
and appetites, it is not solely dependent upon the art quality of the
deSIgn for its success. This situation exists, although the design
quality itself and the common habit of thinking we want it, is, a
desirable adjuct to life. Fashion allies itself to the changingmind
states of man. It keeps in view not only his elemental physical appe-
tites, aesthetic and inteiieE’t'uaI desires, and his spiritual longings,
but also his weaknesses.l In order to understand and appreciate the
art of the past, one must see it in relation to the cOmposite lives of
the people of that day. A true appreciation is gained, if there is an
attempt to understand the influences behind such movements.

As noted previously at. the turn of the century the ideal
silhouette was suited to the mature form. The fashionable woman had
an hourglass figure--upright shoulders, long sloping bust, small
waist, and large hips. This shape was attained by the use of straight-
front corsets, 2 -which molded the figure to the desired form. Women

were, in a sense, encased in tight complicated clothing involving fitted

 

lDingwall, op, cit., p. 326.

2Portia Yvonne Trentholm, "Women's Undergarments in
the Twentieth Century” (unpublished Master's thesis, College of Home
Economics, Michigan State College, 1953), p. 28.

72
bodices, wrist length sleeves, and floor length skirts. The costumes
of these years are classified as being in the Edwardian period,
designating the reign of Edward VII, 1901-1911. Some of the best
illustrations of these can be seen in the drawings of Charles Dana
Gibson, whose "Gibson Girl" became recognized as the ideal and
typical American beauty.

In the early 1900's fashion began to follow many directions.1
There were varieties of sleeves, various bell-shaped skirts and a
number of millinery designs. Shoulder breadth was emphasized by
square yokes and berthas. The guimpe, a yoke often of lace, was
indispensable. 2 In the early years, the "morning-glory" skirt,
which fit at the hips and was full at the floor length hemline, was
popular. The hair, which was worn long, was piled in a high pompa-
dour over rolls (rats). Hats were large and trimmed with plumes,
flowers, or birds.

By about 1905 changes in fashion were apparent. The
silhouette began to slim and become more narrow. The Edwardian
figure was becoming a modified tube. Corsets were lengthened, the
bustline was raised and became more defined, and the hips were

slenderized. In 1905, following the success of the Japanese in the

Russo-Japanese War kimono sleeves were introduced.

 

1Paul Henry Nystrom, Economics of Fashion (New York:
The Ronald Press Co. , 1928), p. 298.

 

2'Katherine Morris Lester, Historic Costume (Peoria,
Illinois: Charles A. Bennett Co., 1nc., 1942), p. 215.

 

3Nystrom, op. cit., p. 299.

73

The year 1908 marks the emergence of several trends
that contributed to the cycles that followed. The high collar which
had been prevalent all during the Edwardian Period began to give
-way to a lower and more open neckline. The "rainy daisy" walking
skirt appeared and it must be noted that this skirt was two inches
above the ground. The trend to slimmer skirts was a factor in the
reduction of the number and weight of the petticoats worn.

In 1909, a definite change took place; skirts became
extremely narrow and the waistline climbed upward. This trend
bore a striking resemblance to the Empire style and was fostered
by certain designers including Poiret. 3 The silhouette now was
tubular with the emphasis on vertical lines which made the fashion
more suitable for the younger figure.

The year 1910 marks the emancipation of American women
from several aspects of dress which contributed to discomfort:
skirts cleared the floor and were as high as two inches above it;
ankles were seen for the first time in hundreds of years; trains were

completely eliminated from daytime dresses; and lastly, tight corsets

gave way to a softer foundation which revealed a semblance of the

 

1Jensen, op. cit., p. 137.

2Eudora Sellner, American Costumes (Worcester, Mass. :
The School Arts Magazine, 1925).

 

3Moore, op. cit., p. 161.

4
Rollin Weber Van Horn, Dress Throughout the Ages
Philadelphia, Pennsylvania: Van Horn 8: Son, Inc. ).

 

74
normal feminine figure. It was in this year that flexible boning
became popular; the first all elastic step-in was made as well as
a ventilated corset.

1910 was a year which established the straightened
silhouette which utilized vertical lines rather than form-fitting curves.
The trend was quite new as previous fashions had emphasized the
rounded mature figure. This costume, as evolved from Edwardian
dress, had long, slender, almost curveless lines. The verticality
and the revival of the raised Empire waistline gave the costume a
diagram of "H. ”2 There was a significant approach to masculinity
and clean-cutness, in that costumes became more tailored and showed
simplicity. The two-piece mannish suit was accepted. The emphasis
was on an upright line and there was an absence of "curves and
superfluous fripperies. "3 These costumes were alert, serious,
youthful, and gave the wearer an air of competence. In general,

trimmings were fewer. Colors were very light, examples being cream,

4

Q

pearl, grey, and champagne.
Efforts to soften the vertical line were made by the use

5
of long tunics over slim skirts, but it is significant that these were

 

1Trentholm, op. cit., p. 28.

2C. Willett Cunnington, The Perfect Lady (New York:
Chanticleer Press, Inc., 1948), p. 70.

 

31bid.
4Moore, loc. cit.

5Burris-Meyer, op. cit., p. 167.

75
mainly angular in effect. The use of curves was relegated more and
more to evening dress which cultivated sex appeal more than daytime

1 . .
dresses. It was during the prewar years (1910-1914) that fashions
began to be more functional. Designs were presented and featured
with specific purposes and occasions in mind. The result was the

. , 2

emergence of the "daytime" dress and the "evening" dress. Use
became the basis of the assortment of dresses-~daytime, dressy,
sports, evening, house dresses, wedding gowns, and others. Fre-
quently the color, fabric, or decoration would determine the use of
the dress rather than the basic design, for example, a dress of fuscia
crepe would be dressier than the same garment in black.

The trend toward the vertical line was most apparent in
the silhouette of the skirt. The taste for slimness is shown by the

four skirt styles that were available. The harem skirt was softly

 

draped and usually gathered under at the bottom to a narrow lining.

This imitated the Turkish trousers. The trouser skirt was a tailored

 

design. It was open at the side front and had matching bloomers and

pantalets attached at the waistline.

 

1Cunnington, The Perfect Lad}, op. cit., p. 70.

 

2Ibid.

 

3

Chambers, op. cit., p. 226.
4 .

Picken, op. c1t., p. 307.

5Ibid., p. 308.

76
The most extreme of the slim skirts that appeared was

the hobble skirt. The sides were not vertical but sloped inward

 

toward the hem, being narrower at the hemline than at the knee.
Often a band was placed around the skirt hem to increase the tight-
ness. 2 The skirt derived its name by this ankle snugness, resulting
in difficulty in walking which "resembled a sack race. "

A variation of the hobble design was the peg-top skirt,
which had deep pleats from the waist to the hips and tapered almost
to a hobble silhouette. 4

The hobble skirt made walking so difficult that several
suggestions were offered by designers as possible solutions to the
problem. 5 They were the bell silhouette; the divided skirt, Turkish
or harem trousers; the slit hobble skirt (a hobble skirt with the
seams open from the hem to the knee, under which was worn bright
colored petticoats); and a skirt shortened enough to provide walking
ease. The result was that the bell silhouette was rejected. The
divided skirt or harem trousers were promoted but gained only
short lived acceptance. The slit hobble skirt was favored for a trend

lasting approximately two to three years. The shortened skirt proved

 

1Ibid. , p. 307.

2Cunnington, English Women's Clothirpg in the Present
Century, op. cit., p. 96.

 

 

3Cunnington, The Perfect Lady, pp. cit., p. 71.

 

4Picken, op. cit., p. 307.
5Nystrom, op. cit., p. 299.

77
to be the most popular choice for it was a style that was accepted
and its popularity was accelerated throughout the period of World
War I and the years afterward.

It is these features of design, silhouette and skirt length,
that provided the major features in fashion change during the next
decades of fashion.

During 1912 the slim silhouette was maintained, waistlines
defined, and dresses were worn almost excessively tight.2 This
necessitated a reduction in the amount and weight of underclothing
worn. The "x-ray" or transparent dress came into vogue at this time,
along with a revival of the robe de style, which was worn without
crinolines. 3 1912 marked the appearance of contrasting skirts and
jackets along with the "Peter Thompson" suits and dresses,which
consisted of a middy blouse effect and a pleated skirt.

Twoimportant changes in details were that dress collars
were worn at the base of the throat, rather than high on the neck,
and the sleeve in daytime dresses was shortened from the wrist to
the elbow. Often the sleeves had turn back cuffs and vertical buttons

as trim. This is significant for it involves the baring of parts of

 

1Nystrom, op. cit. , p.299.

2Cunnington, English Women's Clothing in the Present
Century, op. cit., p. 107.

 

 

3Nystrom, op. cit., p. 303.
4
Burris-Meyer, op. cit., p. 167.

5 .
Bradley, op. c1t., p. 345.
Burris-Meyer, op. cit., p. 167.

78
the anatomy which heretofore had been discreetly covered.

Skirts remained important. Hip interest was stimulated
by the peg-top skirt which remained in fashion until 1914. 1 New
details appeared in skirts which were now often tiered or draped
to provide an interesting variation from the slim hobble effect.

Moderate transition in fashion was the keynote of 1913.
Necklines began to be sharply outlined as square or round, instead
of the usual softly draped effect. It marks a slight decline in the
extreme degrees of the hobble and the slit skirt. 3 Skirts themselves
began to be slightly fuller. In evening wear, the sophisticated look

with the Numudian aigrette and the fishtail train was desirable.

Influences of World War I on Fashion

 

World War I was a major influence on the fashions of 1914
and following years. The war itself created a material and labor
shortage. The strict economy in materials was apparent in the
"dignity and simplicity of style"4 during the war years, 1914-1918.
Lines became simple, colors subdued, and costume more practical.
The practicality was enforced by the emergence of women into the

more active life of business and labor. The importance of ready-to-

 

1Ibid.

 

2Ibid.

 

3Cunnington, English Women's Clothing in the Present
Century, op. cit., p. 112.

 

 

4Bradley, op. cit., p. 362.

79
wear increased as women spent less time in the home. Fit in ready-
to-wear was loose in expectation of a wide range of figure types and

. 1 . . .

Sizes. The labor shortage made it impractical to wear clothes that
required special care, thus the simplification of costume.

American designers became more important to the American

. 2 . . .

fashion scene due to the war. There was a larger degree of originality
in designs resulting from the difficulty in obtaining Parisian models.
Greater developments in the textile industry were due to the lack of
imports of French and English fabrics. The war cut off the supply of
German dyes, almost forcing the American companies to develop

their own methods of production.

Gener a1 Silhouette Trends

 

At the onset of World War I there was confusion in the
fashion picture due to the introduction of several fashions which
became popular during the war years. However these fashions are
important for they hint at the major changes that were predominant
during the nineteen-twenties. The four introductions and their
innovators were:

1. Cheruit: showing a long waisted model with a girdle

at the hipline; it was a sheer black net trimmed with
beads, later called the chemise dress.

 

1Trentholm, op. cit., p. 62.

2'Crawford, One World of Fashion, op. cit. , Plate 69.

3Ibid.

 

 

80
2. Poiret: featuring a straight, hip-length overblouse
(tunic style) with a bateau neckline and a narrow

short skirt.

3. Chanel: beginning the use of wool jersey for tailored
sport suits.

4. Paquin: introducing the barrel silhouette and the use
of long sleeves on formal dresses.1

All four were French designers who had influence due to
the establishment of the French Haute Couture.

These fashions were accepted by degrees. The "barrel
silhouette" was favored at the beginning of the war period as was
the lampshade silhouette of Paul Poiret. The use of the slit skirts
continued through 1915. The ladies felt quite "naughty. " "The

really naughty ones slit it to the knee. "

The Debutante Slouch

 

The important and prophetic fashion of 1914 was the
chemise which was revived by Chanel in the twenties. 4 It involved
the noted fashion change--no defined waistline--meaning not fitted.
Garments gave the appearance of loose fit but the inner structure
of the article had a fitted underlining which clung to the shape of
the body. The silhouette was tubular and was further slenderized

by omitting petticoats and bloomers. 1914 marked the beginning of

 

1Burris-Meyer,_(_>_p;_c_i:t., p. 167.

2gp}, p. 57.

3Allen, "Fig Leaves," op. cit., pp. 59-66.
4Burris-Meyer, op. cit., p. 58.

81

the uncorseted figure and the appearance of the debutante slouch.
While the actual design of the costume at the early part of the war
period (1914) changed only moderately, the debutante slouch or
”boneless pose" created a totally different type of silhouette.

Protruding stomachs were perhaps a purely natural

physical reaction, for corsets had now come to be very

negligible affairs as far as giving much support to the

figure. The bodies, having been practically molded

into a form by "lacing" now released from their con-

fining braces lacked the muscular tone to maintain a
good posture.

The Role of Beauty

 

1914 marks the beginning of certain trends which continued
throughout the twenties and extend even to the present time. Among
them was the use of cosmetics by ”respectable" women. This word
"respectable" is the key, for heretofore the use of cosmetics had been
limited to the "hussy, " those in the theatre, or those at a sufficiently
high level of society to risk middle class social disapproval. Although
at first not widely accepted, women gradually began to follow the fad
and ignore the original social implications. Cosmetics went through
the stages of being rejected, partially accepted, utilized to absurd
extremes, and finally reached a level of partial moderation.

With this beauty interest, the beauty parlor came into

vogue and became almost a necessity for it provided "expert" advice

 

1
Ibid.

 

2Brockway, op.cit., p. 114.

82
and services for those women who could not or did not care to beautify
themselves. The trend toward a more tubular and youthful silhouette
gave rise to dieting and figure consciousness. The houses of beauty
also contributed their part in this aspect of the beautification of the

American woman.

General Fashion Scene

 

It was in 1914 that bobbed hair first appeared on the fashion
1 . .
scene, although it was not generally accepted. This however, per-
mitted hats to become more fitted. The cloche appeared and was
worn low on the head. Popular necklines were bateau style or in a
low "V. " Sleeves generally were long and set-in. The extreme
, 2
narrow skirt was not popular, and the length was shorter. The
slit skirt and the peg-top remained in vogue; often a pannier effect
was utilized on the skirt.
With the shortening of skirts, more attention was given
‘91” ‘ ' is,
to the feet, and shoe fashions became impdrtant.” Low shoes were
introduced for street wear and there was a wide variety of heels.
Hosiery also became a fashion item. In general, hosiery featured
all extremes, from severe neutral colors and plain knits to colored
hose with inserts, block prints, weave effects, and even
. . 3 .
garter insertions. Stockings presented a new feature for the

American woman.

 

1Burris-Meyer, op. cit., p. 58.
2Moore, op. cit., p. 170.

3Bradley, op. cit., p. 365.

83

Jewelry received new emphasis with the acceptance of
costume jewelry. Until the period of World War I, it had been con-
sidered bad taste to wear anything but precious stones set in gold,
platinum, or silver. However as jewelry became more popular,
imitation metals and stones came into fashionable demand. They
included dangling beads, earrings, and pendants. Buttons, buckles,
and clips were also in vogue.

1915 marks the beginning of the era in which the
"schoolboy figure" emerged. The fashions of this and following
years favored youth,_ and there was a relaxation of the conventional
restraints both in the world of fashion and in the actions of daily
life. During the decade, 1915-1925, the designs of two French
couturiers made a tremendous impact on the whims of fashion. When
Chanel introduced a cashmere jersey dress, which was simple in
line and easy to care for, it met with immediate success. The
chemise dress, as it was called, consisted of a straight slip with
an overblouse, and had long tight sleeves. In America it was so
popular that it almost became a uniform. The girdle was almost

entirely discarded. Dresses were worn shorter than they had ever

 

1Chambers, op. cit., p. 391.

2'Cunnington, iEnglish Women's Clothing in the Present
Century, op. cit., p. 118. '

 

 

3Chambers, op. cit., p. 111.

84
been before, in many cases the hem being eight inches above the
ground.1 In addition, they had lowered waistlines. It should be noted
here that skirts for daytime wear have never since reached the floor.

Another French designer, Vionnet, also had an impact
on the clothing market. She showed a tubular crepe de chine dress,
revolutionary for it was a bias cut slip-on design, that was unlined
and had no buttons or fastenings. During this decade, Lanvin continued
showing the robe de style, which had a fitted bodice and a full skirt.

The chemise dress was definitely recognized and became
practically a universal fashion. 2 The original style was maintained--
a slip-on, hanging straight from the neck, having no fastenings, and
having a low waistline. If worn at all, girdles were simple and soft,
replacing the firm boned corsets. Silk underwear was replacing the
usual cotton, linen, and batiste, popular from the turn of the century.
This change was almost necessitated by the chemise, as heavier
underclothing would result in unwanted bulges. Since the straight
boyish figure was in vogue, the costume slip took on straight,
slenderizing lines.

In general, the waistline was defined, though not fitted,

to the figure. It was placed just below the normal waist position.

 

lAllen, "Fig Leaves," op. cit., pp. 59-66.

2Burris-Meyer, op. cit., p. 167

3Ibid.

 

4Elliot, op. cit., p. 55.

85
Dresses had ample waist fullness. A flared skirt appeared and
continued in vogue. Many had flounces suggesting the nineteenth
century crinoline period of whalebones and pannier draping.
. . . . . Z
This flared skirt brought With it the flared petticoat. Robe de style
revivals continued as well as interest in shirtwaist and skirt

3 . . . .
ensembles. Daytime dresses were Simple in deSIgn and were ankle
length.

The year 1917 is one of major importance in American
history for it marks the entrance of the United States into World
War I. The eve of this entrance found the American woman with a
completely new look. There was a decided change in costume after
this point. The war found many women serving the government and
thus wearing a regulation uniform. In civilian dress, the tunic or
one piece dress, the chemise dress, and the apron and handkerchief

. 4 . . .
tunic were popular. Scarc1ties of materials due to the war neces-
sitated extreme scantiness in dress; often three yards of fabric was
used for an entire garment. Simplicity of design was also an impor-

' 5 . .
tant feature. Black was a predominant color, both for mourning the

war dead and because it was easy to clean.

 

1Bradley, op. cit., p. 364.
2 . .
Elliot, op. c1t., p. 89.

3
Burris-Meyer, op. cit., p. 167.
41bid., p. 364.

5Ibid., p. 168.

6Ibid.

 

86

There was a distinct drop-off from the full skirt of the
past two years, although novelty effects were achieved with modified
fullness.1 In general, the slim silhouette returned and skirts began
an upward climb. 2 Belts were dropped lower on the hip, elongating
the figure. Afternoon dresses often appeared sleeveless.

The silhouette continued to be tubular and dresses were
simple in line. Novelty fashions showed areas of fullness most often
in the skirts. Two factors contributed to the slim look. Shortage
of fabric due to wartime restrictions limited the yardage utilized.

This resulted in straight lines in dresses. Another point was the use
of heavy beading on frocks which tended to slim the silhouette as well
as lower the waistline by the sheer weight of the beading. 4 Cascades
of black beads were popular for decoration. Fabrics often were
marquisette or embroidered net with steel beads. Other trim in-
cluded braid and pleating.

Dresses tended to be loose in fit which gave the wearer
freedom of movement and a youthful appearance. A healthy appearance

5
was important. Collars were soft and often ruffled. Sleeves were

 

Sellner, op. cit.
2 , .
Allen, "Fig Leaves, " op. c1t. , pp. 59-66.

3 .
Ibid.

 

Burris -Meyer, loc. cit.

5
Bradley, op. cit., p. 364.

87
either short or long, and both were snug fitting. However, "short"
sleeves meant a three-quarter sleeve or one reaching just to the
elbow as contrasted to one that reached the wrist. Waistlines were
defined by belts but were not fitted to the body. Hemlines were often
uneven, and draperies and hanging panels were seen.1 Suits were
also popular for economy, ease of care, and comfort.

Fur became popular both for indoor and outdoor wear.
The shortage of coal and therefore the cooler temperatures inside
of homes, brought about the demand for short fur jackets for home
wear. Along With this, cocktail jackets came into popular demand.
Coats with high collars were often luxuriously trimmed with fur.

During 1917 and 1918 short. hair was seen but coiffures
were suited to the individual and several styles were popular. Hair
was worn low on the forehead with curls around the face and a roll
or psyche knot at the back of the head. The boyish bob or the shingle
was also worn and its popularity was increased by the availability of
the Marcel Wave which enabled anyone to have wavy tresses.

In accessories, all forms of jewelry were popular.
Costume jewelry was now fully acceptable and had three main elements
that. contributed to its popularity; it. was available to everyone, had a

low purchase price, and was generally of good design. Vanity cases,

 

1
Burris-Meyer, op. cit., p. 168.

2 ..
Bradley, _o_p. Cit, p. 168,

88
lipstick cases, cigarette cases, and cigarette holders were also in
widespread use.

In fashion 1919 is an important year for it marks the
beginning of the period (1919-1929) in which youthfulness permeated
the entire fashion scene. This was the most pronounced feature of
this time span. The abnormal psychological conditions of the period
following the war were expressed by the fashions of the time. The
boyish ideal was glorified; the object was to attain the nonmaternal
look. Breasts were flattened by compressors; the waist and buttocks
were flattened into a cylinder; hair was cut to almost masculine pro-
portions; and the limbs were exposed. The aim was to suggest im-
maturity and the most conspicuous feature was the eventual exposure
of the leg from the knee down. 2

The keynote of daytime dress in 1919 was simplicity in
line while formal and evening wear maintained its gaiety and frivolity.
Embroidery on dresses also came into popularity. The slim, youthful
look was increased by use of the shorter skirt, vertical lines,

modified peg-top skirts, one piece frocks, and dresses with a semi-

fit. Skirts were slim, draped, slit, and even accordian pleated. In

 

l
Burris-Meyer, op. cit., p. 284.

ZCunnington, English Women's Clothing in the Present
Century, op. cit., pp. 146-147.

 

 

3
Ibid., p. 150.

1
most casesathey were eight inches from the floor. Summery
furs made their appearance, white fox being the most popular,

both as a wrap and as a trim on another garment.

 

1
Bradley, op. cit., p. 364.

2
Burris-Meyer, op. cit., p. 285.

89

90

CHAPTER VI

COMPARATIVE FASHION STUDY
1920 -1929

The following section constitutes a survey of major
fashions as they appeared in two selected publications. The publi-
cations utilized were the Sears, Roebuck and Company catalogs and
issues of Harper's Bazaar fashion magazine. The fashion trends as
they appeared in these publications will be reviewed for the years
1920 and 1921; 1924 to 1926; and 1928 and 1929. In this way, the
beginning, the middle, and the end of the decade of the twenties can
be surveyed in relation to the fashions. The differences in the pre-
sentations of the two selected vehicles for fashion copy will be evident
in the text and in the photostated illustrations from both. Through-
out the study, the code letter""A" will denoteillustrations from Sears
Roebuck, and the code letter"B, " those from Harper's Bazaar. Each

will be numbered consecutively, beginning with "1. "

1920 and 1921

 

Se ar 3 , Roebuck Catalog_s

 

The general silhouette in the Sears catalogs during 1920
and 1921 featured a vertical line and dresses definitely were not fitted
to the body. Early in 1920 collars, were seen on nearly all the fashions

illustrated, while later in the year there were fewer seen. In 1921,

91
they appeared with greater frequency and were more interesting to
the eye. In 1920, collars were either square or round and laid flat
to the dress front. Interest was obtained by the trim utilized. In
1921, while the shapes were the same, interest was by means of
draped surplices, tuxedo revere, and contrasting insets. Many
collars were very low on the bustline and required dickey insets
for modesty.

The main characteristic of the bustline during these two
years was that it was not defined or fitted to the body. The bodices
of the dresses very often had bloused fronts which further de-
emphasized the bust. It wasn't until late 1921 that it became evident
that the drooping fullness of the bodice was being decreased although
there still was no emphasis placed on this area. During both of these
years, all dresses were lined and it was the linings that were fitted
to the body, while the outer dress remained loose in fit.

A variety of sleeves were seen. Throughout the period,
three-quarter sleeves and wrist length sleeves were predominant.

If a sleeve were referred to as being "short, " it extended to just
above the elbow. Early'in 1920,. they were both fitted and loose;
often they had a flounce and/ or a frill at the cuff edge. There were
both set-in and dolman styles. This trend continued throughout
1920, but in the latter part of the year, the use of flounces was
diminishing and buttons and slits were the only trim. In 1921, the

"fashionable" sleeve was the three-quarter sleeve. Lace, beads,

PLAN.
19?

O

' A-l

Fashion’s Nervestm Ideasw

asses; m
m o
T—Nnch. a"

silk TAFFETA Is very at-
inactive and follows the trend of late fashion
the. We! til draped bodice style form-
Ing plalted girdle in bet. has round neck
mung“. color silk messaline.
tb'i natter thsleeves have fancy
stitched cu s. A dressy touch ls addedb
the net of and velvet pansies at let
side. he skirt shows new it 1e in the
graceful draped tunic. p lpt-d with contrasting
saline at right (side, £1,301an
-mm wit ts
is lined wiph batiste and
. eaten: at left
side nldw has skirt SWEEP of about 55
inches. em 32 to 44 Inches bust
measure“, Give.
rec-sanguine.
vet-gee pplng
'21th 1%

pounds.

 

yr.»
'24" 3,.
' i

 

 
 

 

D

0.... -‘ “.~_

 
  
 

  

31055 25
Silk Taffeta

mac—N
313235—913.“
— u
THIS WOMEN‘S RESS OF
ALL WOOL ERGE features the

visited skirt so much in vogue this
season. The roll collar ending in
rovers on waist front 19 bound with
braid. and the white Nicolette vestce
is embroidered in contrasting colors.
Full lcn'; th button trimmed sleeves
are slashed at wrist. and the girdle
has bow with button trimmed stream-
ers in back. The pretty Kind) pockets
of skirt are embroidered contrasting
color artificial silk and tinsel also
button trimm Waist ls lin with
batiste. Fastpns at left side and has
skirt S\VF.F. P 3oft oabout 74 Inches.

        
    
     
  
   
   
 
 

VVomen'ssizesJ

lmhes bust measure.
Clvo measurements.
Average shipping wt"
2‘.’ pounds.

.anr- -—-~ -—‘

'K

3 1 D5 5 30
Wool Surge

 
  
 

mm 1-2
1920

 

 

 

shoot 55 inches. Worn 's sizes. 32 to 44
Inches bust measure. s unsoun-

sbout 39
ordering glee
bust. s s and miss noose-'0.

 

3105520
Stilt Georgette Crepe

94
and hemstitching were used as cuff trim. The set-in sleeve was most
prevalent.

During both of these years the location of the waistline
changed very little. It was at the normal location in nearly every
instance. It was always defined by either a girdle or a narrow belt,
but was never fitted to the body. In 1920, the use of the sash,
especially with hanging ends or panels became very evident. In some
cases, this tended to pull the waistline belt slightly down below the
normal waist.

The notable point in hiplines occurred late in 1920 when
the wide hipline came into popularity. The skirts were not fitted
but the width was attained by means of definition by folds, pockets,
trimming, or seaming. Plate A-l illustrates this clearly. A definite
change occurred in 1921 when hip interest was attained by hanging
panels or tunics (see Plates A-3 and A-4).

Skirts throughout both years were slim in line. In 1920,
the gathered waistline was most popular. Early in 1920, the tunic
and overskirt effect was common. Also some yoke-top skirts were
seen. Later in the year, the peg-top look was attained by hip drapery
and folds, deep pleats, flared pockets at the hipline, and the draped
tunic skirt. In 1921 there was the very obvious use of the real tunic,
and often it was simulated by contrasting color bands at the skirt
bottom. Skirts were both gathered and pleated.

During these two years, a variety of trimmings was used.

.. , "v“
luhlia -3

1921

NEWEST STYL
FASHIONABLE

‘ . answgnhrcsagx

      
 
 
 

t liTSIOOH'

RliSEMRlJNG Silklli-

\\'ll.\T THE COAT DRESS

this Find: of ALL \\'HHl.

TRH ()TlNE is beautiful!)

'- ornamented with rat lull r-ni-
brnillr‘ry. whith rnn~ (lvm'n

[VJ A 1 WOOTLl r blasrssoo—Nuy
ue. l".\"li
4i T "”3"" ”1.7.2:.“ $19.95

     

 

31'”, «Navy blue. l-LM’H lrnni lllt .“dHl on tlu tllt'll.t.
317809 --Derr brown. 12 98 llllllt‘-—l litulars are \'('l 3’
31'”97"B"°|‘ § fashionable this season .m'l wr-
APP!" U [\(' T-\ ”K \ H T R“ H know you will enjoy the uv‘nf‘rdl
HST?” TO ”THIS \l.\ll T T _ I (,)§(' etiert of this one. ('ninliinativw
T TNT: DRETS TaqT””“NT oi \ T31" satin and tt‘itntine i')\'f’l"‘l
\ ETEEX. effectively embroidered in buttons adorn the ve~t :u .l
churning rhangeahle color howl» sinart gins-you. and the mrrmt
Thi- material. suitable for everyday or belt is finished .1t the W,“ my”
‘ dress wear. really needs no adornment. a tailored bnw. 5km h.»
| and th' mOdPSl dCSl‘n la “15‘ L‘Ullll ll'lll “nu,“ in btii'k unr’pr [h4- tun;
\ to enhance its beautv. “311% fastens Drt'u tiny-5 at \ltl" .nvt I-
Q .
’ 31F509 at the side and has bati~te lining bill?!" “4mg. lmym v(“Mi-Hit"-
. , ' . ‘ .‘1 'lr gueep, I in" 1"" Olllt‘l‘ *
Mir/elven Oversize. skirt sueep. “ii lull”. “I“. ,2 m H "Wu” “I”
312 98 OM?" ‘ “(veal 32 if) 44 ”h N" m t nl"I\UrP, (Live measurements.
, lllCdlUrC.IGlV. measurements. \.-v- 3",“, «1111mm; “028111. 3 ‘
verage shipping weiglit.z ’. pounds. pounds.

PLATE A-h
1921

   
  

(I

. 3'

 

31'31‘o—Nevy blue.

31'5141
Taupe. EACH

7 2
=szr'51575

A DRESS OF ALL
SILK T.\l’l'ii'l'.\ that is
plenxinc in it: every line
and 'lt'tuil. Handsnniely
embroidered net tops the
bit» hilt-rt of the waist and
adorns the sleeves. This ' .
trimming is tastefully set ..v
off with ‘lCt‘l colored head 31F5140 "s"
nailhhcaclfs. Fringe. so A" Silk '
muc 1n avor Just now.
has been selected in hillkh Taffcfa
the loose \Ifl" panels of the
skirt. The collar and
folds on the wide girdle
are of rontrasting mlnr
Georgette ('repe. Waist
lining is of hatiste and
dress fastens at the side.
Average skirt sweep. 00
inches. “'omen's sizes.
.52 to 44 inches bust meas.
ure. 0 i v e meesure-
merits. Average ship-
ping weight. 1% pounds.

  
   

97
They included self trim, beading (see Plate A-Z), lace, embroidery,
buttons, silk, flowers, braid, jet beads, cording, shirring, chain
stitching, and tassels. It was late in 1921 that fringe came into
greater favor as seen in Plate A-4.
Colors and fabrics were in wide variety and almost any
taste could be suited by the selection that was offered to meet consumer

demand in the catalogs.

 

Harper's Bazaar

Fashions in this publication were in the same general vein
as those appearing in the Sears catalogs, but there were minor
differences. The silhouette, while following the trend for slenderness,
tended to have more soft fullness. This was in both the fall and spring
seasons of both years. In most instances, where the two publications
differed, was in the exaggeration of the fashion pictured. ~ As stated
in the section on the Sears, Roebuck fashion offerings, the hip fullness
was important. As maybe seen in Plates B-1 and B-2, this same
motif was featured in Harper‘s but was more obvious. The use of the
tunic in 1921 was also seen in Harper's (Plate B-3) and the over-skirt.
theme as well (Plate B-4).

The general silhouette had a tendency to create a soft,
vague outline utilizing supple line. There was more variety in the
necklines, which, while following the general pattern had much more

interest in the available collars seen. As in the catalogs, the bustline

IE B-l
1920

['11
3,- .

 

VERY SMART \VILI. BIC 'l‘Hl'Z I"()L'I..\Rl) I’ROCK

Fan/11rd frorhs in whirl: nm' :.-ill will: abroad during spring and .mmmrr hf” «'Iuim. .mmng Ihrir «IIIrm/inm. hmlin'x Hm! urr
n'mplr and prrhapx 1m.- nf :uuixl. «md sl-irh Ihul hurr a hit of drdprry nrfulmcv :1! (hr hips. (If .wfh u cmy ('hippruda/r prinl.
fullrrm’d "with vivid. blur: and gr: rm. (hr In" I: :3 up! In hr. as in (hr shrh'h ulna-r «1! [hr Iqfl. (It'nrgo'lh' fur :2: [hr (mun! drunpmg
:Ird’u" ha]. and a sing/r plnmv it {did "pun {Ix (trim. ('pnn (hr slrn-rs mid 5hr! 0f (hr .m nndfrm‘h thrn' un' .mflrpluilrd f/uum'rs
lo makr it youthful, and a high upswnding nrgaudir ml/ar In girr i! a In"! (y'digm'ty. Furl/11's originaliun a dark blm‘ L'hippmum- ,
prinlrd u-ilh :ilm gray foliage, has ban chasm; and one (mplrlrs the costume WM 0 slighlly lillrd jhm'rr-rorrrrd rhupruu

F L33. ”‘2

1920

 

 

 

Tho' a/lrrmmn (In-u almt'r a! lhr lo'll i~ lmlv rngaqinqlv Imiqm'!
.lmlrrr Marl: mlin ix n-lirrnl hr whih' panirrlihr panrl~ lhrml «ml

an rarh m1:- and a uallupnl mllar a] rmhruillrrn! :.'hilr «n‘pr (lc'
('Iu'nr. Shurl \lrrz-m, [NIH/IV I'iuhlr lu'm'alh lhr all-o'nrrlnpmq urllar,
fulfil lashiun'\ (Irrn'r in lawn all (hr han' arm. Thr ha! l\ rnlIn-lv
Mark. 0] Inllr aml satin, will: a laid a! Ihr Inllr hanging lrmn Ihr lvrim,

"'hn Immld nul :uish In haw lauinalinq lilllr mrn aml animalx rm-
hrnidrrrd in Mark upun (hr HHMH al hrr allrrmmn lrm'lc.’ l-J‘pvw
(lolly m, tiurr (his malrrml h wry an." and smart I! U ml] In mz'rr
8'! a hit, howfl'rr. by (hr ()Imhrrinh grav «‘n‘pr clo' (him: :(hirh lnrms
lhr grralrr purl a] Mr «lrru almw at (hr right, Thr mar har n all
Mark rrin with a small blarh dipkd plmm- a! rarh al (ho- luur mrm'n.

B-2

 

n" fm‘hul rn‘po‘ am! law in .u: :m-
in HM‘ um] ;.'/tllo' rrr'pr
T/u‘ I‘d/mp”! mrk. whirl:

Niki/Ir [M all/u! inw'IIinw

n :4 ll am! onlmlv lawman"; :.'a\
(HIWU'lir' aiirrnmur funk ln'lr':.'
ha- (aha (hr plan M Na drauhl linr in m many of (hp
‘Iunnu'r (lruxm, [hr llmoH'Hlmg lilllr' rm! U] [MT and long
Nail: :rln'l nlvlmm Thr paraml
and {In targz‘ ha! u} man‘s lmzu an M \hn'r :.-lul¢' argavdir,

an' it.'lrrr\lin.; ic'alurm.

‘ _.

\
'JJ.

 

".C h
“\I

t. 1|};

 
 

.4

- 5')“
FL}. m

-3

17

21

 

 

TOUCH ES 01"

FUR WILL

DIS'I'INGUISH

TH E (FOWN O I"

()RGANIHE

 

It tom lmmul ta rmnr tha' tnm‘h m rm .n.

\ltt'v'r ,x'ummg.
jalvrin. and m .Iliu Ntrinnn't: l'll’l’tlllit'\ malt and rnmnr in

hrr frm‘hs n/ organtlir. It thr lo'lt. :c'hih' ('hantlllv am! «Hgantlic'
an' giullnl with narrow stripx ul tail/rm rnninr, :g-hnh alm
llPPl'lH’" «m ”to“ hal. [“07 «1 pair l't'lL‘t' t’rutttttlio'. rt ind-Ml mip
ul mnlr rump/Hm thc' gird/r ana' hamlx thr arcamii. hat,
Fur hc'r thin! (mtmnr .l/in‘ Strinmrt: «.nnhimw .‘:.'.- ~/:z:.’:'\ at
gun urgamlia', and lmnlc‘rc {hr with \ln'rm :.‘:th runsm l'h-'
qnamt [mlw' lmnnc't alm dim/an thc' naruarv l."nll ,4 far

 

 

TVI A r'nn
- I1
1 'H Lg

B-h

1921

 

 

 

 

Foulards arr thr mmt satis/artory 0/ labrirs [or spring and
manner and this srason’s drsigns arr drlightlul. For a littlr
[rnrh built with thr long want-line, ”in Strinvnrtz usn a smrlrt
[aulard figurrd with ('hinrsr blur. Slums and a tiny yuhr a]
blur Paulrttr rripr and a with girdlr tying in [mnt arr intrr-
(sting nntrs. Dark blur [nularll figural with grrrn mahrs thr
girlish rmturnr, having lb quaint "pen rallar and rufls a] whitr
nrgandir. Whitr ('antan rn‘pr i\ rmnhinn! with whitr tau/(ml
tlttllt’tl ml" hlm- tn mahr a tlignifird gnu-n jar altrrmmm,

 

 

THREE COSTUMES THAT

F() R E T ELI.

POPULARITY ()l"

TIIE
FUU LAR I)

 

 

 

102
was not emphasized in any manner and the use of bloused bodices ‘
also appeared. Sleeves were more dramatic, having wider flares,
broader cuffs, and in many instances shorter lengths. The waist-
lines, while falling at the normal position in most cases, also tended
to rest on the upper part of the hip, indicating that a drop might be
in the offing of the fashion picture (see Plate B-4).

The skirt generally followed the slim line during both
years but the popularity of the hip fullness oftimes tended to hide
this factor. The skirt length was slightly longer than those seen in
the catalogs. This was attained not only by actual longer lengths,
but also by the arrangement of the skirt drapery. The skillfulness
of the dressmakers enabled them to create the illusion of greater
apparent length without actually dropping the hemline too much

farther.

Factors of Comparison

 

The fashions appearing in these two publications, while
similar in silhouette trends, differed in many details. In general,
the Sears offerings were more simple in line and had less visual
appeal. Those appearing in Harper's were the more exaggerated
versions. The lines of the dresses in Harper's were supple and
graceful. The accent was on the cut and the fabric utilized, whereas,
in Sears, the emphasis was on line.

In both, no emphasis was placed on the bustline; it was

103
flat and masculine. In Harper's, there was more indication of the
trends of the future. The bodices did not droop over the waistline
and there was a definite indication of a lowered waistline being intro-
duced (see left figure, Plate B-4).

Sears showed fringe and beading while these rarely
appeared in Harper's except for very formal wear. The vogue of
these two trimmings was not entirely new, and it was to be expected
that they would not be emphasized in the latter. It may be theorized
that these trimmings were used in Sears to provide the average
woman with the luxury of evening trim, without the limitations of
an evening dress.

Obvious differences between the two were in the actual
presentations of the fashions. In Sears, the models were young and
modest looking. They were sketched to show the dress, and nothing
more. In Harper's, the models pictured an entire mood. They were
aloof and sophisticated by comparison; they were placed in settings
that connoted luxury. This is natural since the purpose of Sears
is to sell clothes, whereas Harper's tends to present the mood of a
way of life. There was greater use of accessories in Harper's as

contrasted to an almost total lack of them in the catalogs.

104

1924-1926

 

Sears Roebuck Catalog- -1924

 

During this year, the general silhouette remained straight
and shapeless. There was less fullness in the skirt; often the skirt
would be pleated but would, at the same time, maintain the straight
line of the silhouette. All of the necklines extended below the collar
bone. There was a variety of styles and most had contrasting trim,
whether of self fabric or cording. The bodice remained rather simple
and there was no attention attracted to the bust; in most cases there
was an obvious absence of any darting at all for the bust.

Sleeves were either set-in or kimono style. Most often,
they were slim to the elbow and flared out from there. The only
sleeve fullness was seen at the cuff, whether it was at the elbow level
or at the wrist. There were but few three-quarter length sleeves to
be seen.

There was a drastic change in the placement and fit of
the waistline (see Plates A-5 and A-6). This was a change that was
to be continued throughout the rest of the decade. The waistline was
dropped and definitely set at the hip-bone level. It was defined but
not fitted and there was rarely a mention of fitted underlinings.
Waistlines were marked by loose sashes and many had hanging tassels
and bows. Often they were decorated with rosettes and buckles. The

use of sashes began to wane by the end of the year.

 

  
 
 

  
  

7r
3 I R 4— 02 O ..
Conuilw'fiomancc'
Canton Crepe
“a 1th Importc d
l "c’nt )1 Des 15111

‘ ;$8_9=5 ‘

.-\t the wrv last mnmI-nt brinrr‘ this bunk “1111 111

1
31 R4017
All Silk

Canton Crepe

$99=s .,

”and beaded /
I

 
      
      

'1' ' 'I IN‘ 1' .‘- i .- in 1 " l, ' 1 . \ I
Il1'\‘\All-11‘lrftl'II-n~'l1i1ii1T1.j]:{111111;}.11‘1I‘1i1(I:ill1l-N1l11li‘j‘l' z i l)“ V ‘ \111111111g 111“ (1‘4“) ”HH'I H1111. PH” It
“l-ILlll~l.1-1'1111111‘Il 111-1111\11H1'::t111..1]11\ 1”“ 1‘1! '1 15 311 1!1111~11.1t 1111] “ill bI “11111 an I"".\lI11~I\Il) by
tr1111~ all silk Canton crepe,;1:1111111~111111 4 ’2' I :9 M'“ ”“5 ‘1!" ""l “"“” “ 1| " "".""' ”“1 “" "‘1‘! ”l’
1111. 111111-111..11“v|| ”11,1.“ “1”,... lit'111l‘1ll;;|\1l ’* 1 1 [111'111111111114 1111111 [I11x 111111lI-l \K'tl\lllL‘lll(lI‘(l 11111111 hunk.
If." 11.1111] 111111411 111111111 1111111 .1111] :11. < “XL-"K / ll 1s t.1-l1i111111l of silk mixed Canton crepe, “'111-1-11
,1 l111l?‘,111lll1~11r111;11II' '111-1 1\1.1-1\1-..11-\111- ’ --/ (Il Il)'111t l1 Ill ~1lk. ’l'l1I 3'11'1111r1 11tt|1i.~'1lrI'\.\istl1I- \‘I'ry
171V 1111~111 (111* ~k211,1l.1-\111.t 11,1111 111.1111] _. .‘ b1>ll111111tvl11.-1ttIr111111111 111 H11 111-1115' i11v1'11t1wl “1111-!-
11-111 1111- 2110-111] ~lw1-11-~. In“. 11.1. “111111" "Vi (11l.|1.111Ill)l111|~.1-111!1I1t. [I11 1111i1111I-IlI-siaz11 :111111'1111114
1111.111-1I ~11‘11 ‘11'1Il I~ Il..111l'ly 11:;111l .1111111111 -. 'l1111111l) 111111111! “11' skirt :1111l i11 b111'1l1-r 11.1111'r11 .11'1111111l
[111 l111I1111 '1: l1I1l'II1I11l 11H ['11 -I11~\1‘. H", 51"" \" \ alll‘l “"le is 50 artistically ()l'lgllldl that you “in

You will hnd that this dress Inexception- 1. 1. 1 Slml‘l)’ l‘W“ lt-
“\Ic I‘ll‘lnttz T313351, \R Ql/l-V {1 t1 4‘ .‘1 1, \\'H.\lliN'S REUI'LAR Sl/J'TS. —3.’ t1; 411 inchI's
D11 .1. l1'1~l 1111- w,‘ C' .b‘ “ d‘ '. "w l)11~11111-.1~111I-. Clve bunt‘and ’wnlst men-uremente

' ‘l " we u". an want 1‘ and front skirt length. \11111111;;~.I11'1~.:l11.1'; 11111111113.

measurements and front skirt length. 31R4020 5.1111' 11.11 11111I L.

”.1“, ... , ,.,,,. 1 111 J ' 1 1 11
5‘31R'4OA17MHK:.1‘\'\-"ll111_:,n“l3. /J| ‘31 31R4021 K1114 II '211 5111.011: lluk $8.95

3111401. 1.1 111. $998 3134022 4.1.11 1.11.11 1.

31R4019 111.1 '...

1 131.1111“ 111.6
192k

1. 1.17.. 11111111151 Down
’ Fifth Avenue/

,3“? (Dth is

' \ix, the Eelmg’

" this Smart

"1 New Hock

will give)
You

  
     
  
 

.11"

W'P‘ \ \

One of the most wonderful dresses in
this catalog of New York styles. For this
reason we devote an entire ac to it and
we want you to know that t is beyond a
doubt the most remarkable silk dress
bargain in America this season.

The style is marked by a dignified
smartness and the fabric. a very good
quality of all sills Canton crepe. is
extremely desirable. Plaits continue in
fashionable popularity. and so we find on
this dress a graceful slender knife plaited
panel which falls from the shoulder to a
point below the hem on the left side and
finds its replica in a smaller panel which
appears from beneath the stunning
rosette of closely plaited Canton crepe
edged with silk moire tafleta which adorns
the fashionably wide rdle. Rosette is
centered by a bright raid ornament of
looped fiber silk which lends just the
needed touch of color.

At 89.75 this dress will recommend
itself very strongly to the well dressed
women. It is indeed a wonderful
value.

WOMEN'S REGULAR SIZES—32 to
44 inches bust measure. Give bust.
waist and front skirt length measure-
ments. Shipping weight, 11$ pounds.

' l l 5 31.41.3—Black.
' 3AR114Si91k 31311333153333?” $9.75
(lznnhzrz

 

 

 

 

107

Skirts were slim and any fullness was obtained by the
use of slight gatherings or pleats. No skirt length was given but
from the illustrations, it appears that they were slightly longer than
previously. Interest was gained by the use of panels and insets but
this too faded as the year wore on. An all-over effect was created
by continuing the bodice design right into the skirt. This aided in
creating a long look for the costume. A wrap-around dress also
- appeared which served the same purpose.

0.

Trimmings were still varied and the use of braid, beads

and embroidery were most prevalent in all of the designs seen.

All types of fabrics were used, silk being very popular, in both

solid colors and in woven prints.

Harper's Bazaar--1924

 

The keynote of the fashions of this year was a plain bodice
with interest in the skirt. The silhouette was slim; most had snug
fitting hips and very often they were fitted in the back. Despite this,
everything was straight . . . the tunic, the jacket, the tube skirt,
and even the pleated skirt. If a flared skirt was seen, it most definitely
had a fitted hip area (see Plate B-S). . Circular flounces or pleats
were often used for'flare across the lower skirt front.

Necklines were varied, whether for day or evening. The
bateau was good, as was the V neck, and the close neckline with an

Eton collar. The square neckline was introduced and the Directoire

 

 

 

 

\ ,[ Jill'b—

I luv. Huh;

I! l".""
. ..

 

R,EDIARK.-\BLY Sl-.l:'..\’l)l",i( 'l).\l”l'l.\[[". l"l\’,()‘.'i\'.3 l"lx’_().\l PARIS

In I/e'yl'gurus Um! Inn 41‘ Mr {/n' ~[‘r:u.. /'«1r.']x (iv/N ...'.v' .w' HHM/ t/w'
"”"lth-H 'f". ”It (LY/FINIH'Y .\/I :h/r" will.“ III/II, .lll\‘ (HUI: \ ur J13}?! """‘
HIM! rlrr III/llll] “WIN/rub ['rlz.:,w./,7f\' Inf/rill; In m Lil/H: ll .43; .'H'~

P'Ilil (’x‘ 'H. p’,fI.I/'(/ :"llel 4 ’11.P!. {,u {I A H,’ I] I",'4 I, I". ,(rfh 1' g I‘ r; l." l 1.0.1"):

[M]: .’_-. :Jur :1 .'l4"..' prull'), 1“ .M." um," .1 In, t gr. mm! a; \ Inn ‘1'!

0'. C'H' ('H/W’. (.llidrl/rl .I Wm t ‘Tf f-i'm i‘ «rip: ”mu. .1 H.417. win.-
film}, is rmlvruicllrul will] him/s u" Hm, ml. (full. mm] 4.2}! ‘-'.:.[~,
TIN/'/ml'crf}‘1ralr(Mm 3m I. .1! {In NJ," [an .1 ;:’;M‘/\ an.'.‘-r.-z.!uu/ .r-I'J‘,

 

 

 

 

 

 

 

 

i
l
i

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

('mmm-s imparlrd by p34 .\'c 15.5 CL 1' NE
A C 051" L' .‘l 1:) M AY C H A NGE ITS IDENTITY
\‘8' IT H A S C A R F

(Lo-fr: .I dress hm arms a warm! stm‘t mstmm‘ by the' simple- da'irr of attaching a
smrf tn it. This Marl.- m‘pv marmaiu modrl from Leuirf is made gorgeous with
Brain-nix rmtrmidrry. Him]: «‘lm'hr and Mark slippers mmplrtt its perfrrtion.

Smrf . :thm‘s arr In in' a imta/I/r fmturr in springfashians. This (astumr con-
sists of a hrmm-mlnn'd .ripr «Inn- and a In‘igr silk mat with lmma scarfs and
ermim rullar. 'I‘hr «Irrss is rmhruidrmi in mm! and silks in many dull shades.

110

collar and the jabot were also seen. The high point of the year was
the introduction of a scarf as an important part of the costume.
Plate B-6 is a good illustration of this trend. A scarf or even a
handkerchief may have been used to create the desired effect; the
scarf this year had become an integral part of the frock.

Bodices became severely plain in relation to fit. They
were loose and did not show the wearer's form. In relation to this,
the waistlines dropped noticeably. It was now located at the hip-
line if it was to be seen at all. As canbe seen from Plates B-5 and
B-6, there is no real waist. The line is at the hips and is created
by either a fold of fabric or by the fabric design. Some belts were
seen but were few in number. They seldom went completely around
the waist. In general, it might be said, that the lower the waistline,
the better it would be.

Sleeves, although they were varied, were not as important
this year as they were in past seasons. They were either long and
close, short and untrimmed, ballooned at the top extending to a
closed cuff, or with an elbow flare. Completely sleeveless frocks
also made their appearance and were coming into vogue.

Trimmings took a turn toward the novelties as buttons
became popular. They were made of wood, glass, crystal, jet,
pearl, and almost any material that would serve the purpose. They
were also worked into embroidery designs. Ostrich, rubber bindings,

cretonne appliques, beads, ribbons, self fabric, fringes, leather

111
appliques, and silk were used for trimming. Fur also made an
appearance and became most important to the current fashions. It
was used on all possible areas of trim, was of all types, and was
dyed all possible colors to blend with the ensemble.

The tunic blouse came into vogue. It was a long, straight,
pleated or tucked blouse, very often in white satin, printed crepe,
or plain crepe. It was worn over tailored suits. The "costume
complete" was an ensemble of a dress and a coat or jacket. This
became so popular that scarcely a frock appeared without a matching

jacket.

Factors of Comparison

 

During this year, the silhouette remained the same for
both publications. However, in Sears, the bodices retained the
slight blousing over the waist while in Harper's this was eliminated.
There was a similar lack of emphasis on the bustline. In Sears there
was great use of sashes at the waistline while in Harper's there
were few, if any, belts.

The fashions in Sears emphasized the design of the fabric,
which created an all-over design effect. In Harper's there was great
emphasis placed on the skirt while the bodices remained plain. Skirts
in Harper's were slightly longer than those appearing in Sears. In
Sears, skirts were generally gathered at the line of the waist and

were loose in fit. In Harper's, hips were snug and fitted to the body.

112 >

The use of scarves and fur for accessories and trimming
appeared in Harper's to a great extent while neither were seen in
Sears during the same year. Sleeveless dresses also made their
appearance in Harper's and not in the catalogs.

The only suggestion of the "flapper" was in the general
looseness of the costume. However the fashions of Harper's were
more extreme in cut and fit and the waistline was dropped to a lower

level.

Sears Roebuck Catalog- - 1925

 

It was in the Fall and Winter, 1925 catalog that the first
actual photograph of a model was used to illustrate a fashion. The
fashion drawings themselves began to look more aloof and aristo- .
cratic. The cloche appeared on almost all figures and many of the
figures had bobbed hair. There was great style diversity and the
trends that were begun in Harper's of 1924 were now being seen in
these catalogs.

The silhouette remained slender with remarkably little
fullness. The predominant style was the tailored look. The coat
effect was seen most often. The ensemble was present in actuality
or by illusion. Often a two piece costume was cut to resemble a
coat and dress. The front would be open with insets to create the
illusion of a coat (see Plate A-8). .Many of the dresses were one

piece slip-ons and had no waistline seam at all.

ELITE; III-7
1925

      
  

I ‘—V:" f‘ -r‘,) T‘
-' '1 /' .3 K ‘,
Q», ‘j/ Ll." ‘ (If?) "1‘ I'L‘r‘) \»\~lq / I" ’\ I, V\ ID
IL," '” .‘(IL L l.’ kLJ v Le. ‘& KC,’ ii if?) \\./"IJ (L (\l; (-1
A . v 4 I '; ‘n /' .\\

   

7' K?) I .I
I . ”It” Us?“ ;.II,.I"..;I.>'”

      
  

[Vandal
Par
Trimmed

\

\
\ ‘ \‘ ‘ ‘\\“ 3
\‘.\\'~.\‘\ .

\

~

3] D 4090
A11 Silk
Canton
Crepe

. $ 5948

~m\

“\i

\
Graceful Godet Flare

‘ bk 1.... it ::I (l (l"~ll IIl L -r I': l‘ mII rr‘ iIIrm Il we. 1'
- 1 I15 2r ’1 k III ll' .-\ 3, I...“ I;I_\ all silk Canton crepe.

S- 'I-III- II_II- lIlIRlI'Il m It I I l.' \ uIIIl -.-IIIIII ll H I -

’lltl'rl.tl.1.'ll'.I\'I'l I Ifll' \lIll Hli.’ l.II" l-li lll.IlI lIl‘ ’

I IIII'IlIIII'I- III\ I Iru ..I irIIII- smirtIIIIIIIII-r:;-II:-

.5513. =- IIIIIIl-'I-.II . «l.I\'. l". l. llllIIl.\' uIIlI IIII- IlI-II'II.

‘ ~ .I 'II II. I Ii.I iII- 11 ~.. '- ' ~. NII-nIIII-r tic (.‘Illur

 
   
   
    
 
  

31 D 4095
A ll Wool
‘Poirel
Sheen

l 9‘8

      

It’s Easy to Or-
i der Clothing by
Mail. See Simple
Messuringln- '
stuctions on Page ’

593

\
I

    
 

 

      
  
 
  

 

' ' "W .I' Ill .= l'" . II it IIEI III.III‘L'.
-‘-II\II\\ .\\‘I) \II>.\I-; \ III-.II II \R Sill; 8‘ —33 III
3 i. I<t lll" I~':.'I. State size and give length from
back of neck to bottom of skirt. bIIII4. \xI .l,'_o 1b..
3104090-l.I I4' I r':~:).

3104091—V .\ ‘ l i l".
3104092—1sf-I§<.J $15.98
Decidedly of “New York”

"min: t;-.. ;;;I;IIII‘.I’Il l.ll;.l.Ir .‘ll.l".'il“. S'l Lain:

Showing Fur Trimming

It is lllnxl “winning: In In"! III.II Ilu- [lrlt‘t' I
III IlIIx' II.IIIIl~t-IIII' llll'~\‘ I< nI-lx' SILUH, IIIr i
It )If"~|'|‘Il\' IIII appearance III III IIII; I II IIIIIII-
llb\ll\. |

“I \I luIII Il l'l II N (Ill IliI_\ all wool Poiret-
Shcen. .I lIll‘l‘ -lllI III“ III II II.Il lI.I\lil'_‘ .l
lll.Il\\lll\\0'.I\"IIl1l.l l'l~llH|I\ lll I‘ll. I)II\.-

_-~__

 

 
 
 

II II I I.I~-.\ I-II:i~ I I‘ -i 4II . :.I IEIIIII lI'.‘.', I..I~' _

'I ,. IiII < .tll ll\ IlII. III \ k. l- I IIIII ‘ l l l h I'IH' " I'Il “H I..-. IIII-IIz: ‘llIIlLlIl IIIII ~ M I

‘ I ' -_-.. IIIl I l "" all wool French serze iv 1' it. '1 l ""“""""'l" """I""" ”‘1" -"'l ‘-‘v"“‘ W" i

" " I'N Iii Ill’ .'.4 ‘il’ In “it" \I_ II I I ll lI Hi i' -. I7 II l “mum“: "1 rim". ”' "l' " "'l"' -\l“'”l'l "'rl

IIII'.~II I'm-2 II- ' II‘I' . I I.I'III.II.I.-I..II- . . o :""“"""‘”I" ”1" ""‘I'*I'II'HI'I'IIIIIII'IIT

u, ._,. .'_ . if i '; ,_ , l . ! ll \\lll| lIII~I l lll“l l(.I\-III I.IIIIII. ' II \llkl III III}, I

. . .I.‘ ' r I l . II' 11. ~ .- x I\' . ' I _ I ‘ l
.I.‘, II , “II-1}",x' ‘1‘!” - V. \l 'l“"llll'il"l"l‘I' “‘I llpllu: III >.IlIII lll.llll 1“,]. A. 4 [I,.. “HILL!“

‘ H H ;IIIII l-ll|.Ill|l‘lll.Il lmIIIIIIx‘ .IIII] tin II IIIIIIlI III 1

 

"IlI‘lel-I . l.I'\ r II-IIII Ii' «HIM'III'Inri 2‘.:'..I

I‘I -lI 'wl \‘wlI‘ R ‘u-"I " -,'II'II I. Il ~..".I lIr Ii l. I 31D 4085 ' ‘l'ic."' H“. i! .‘lfll‘. . I.. .. .
‘~".‘-il..\".\'.\.,\ ) \ ‘! ’ (l' x‘ _‘,2 .H‘ ‘\\()\l|',\ .\ .\\l) .\lI.‘\l'.\ Rl-.(.l i.\l(
.IIIII II, .1 '1" \ "l” I R \m ' .‘ finely Woven$ 50 ““25 “WNW“ "'4 .. ,... Sum-
l \
i

I- .l'. Stale size and\ give length from . .
L. k _ y ; , , sac and gum length lrnrn hack of neck
IC of neck to hem s .I \\ I...I. _ .II 2 - A” W00] to bottom of skirt. >~ I.-.I.I_ IIII.

31328:::E.;:.I..33’* $10.50, French Serge 3:32:32 $11.98

R

.__fi-__. H
7 ____.

      
 

J\‘v‘

"‘JQ\\§I‘

31D4-060

All Silk 3 9§

Satm
Charmeuse
Ensemble
Effect
A Chic Style—United With a
Rich Fabric

DI‘CiIlNlly of the mode, being fashioned in
1- iIII-st I-IIsI-mhlv- I-IfI-ct, is this StUPYliI-k’ C'IS-
' IlrI'H. Choosing for its fabric. shimmer-
~ .. III." II.I;IlItv all silk satin charmeuse.
f Hilly bvcomin-t {or indoor functions as
'5 .Is for .ItrI-I-t wear, on account of having

~' J-ICkI-tlikv n'lter dress and :1 Mil front
- .' N-etiovi, which eiws the aIIpI':Ir'IIICI.' of
- 'I.Ir.It(' frock and coat.

l‘I'II'l of Contrasting: all silk flat crepe,

'Is trimming of Linc-1 Rayon I:Irtiiiei l
. br-t'l .m l narrow tIIckI-l fulIls. \l.ll('ii-

‘I- Hi" llLIt crepe is IISI'Il {of tin" (bulls. LI"-

! t'I_Ill.Ir and full front heinz's ‘Il the

‘. \fihlch fastens with Lflr.IC"lIll <:I~'h mph.
‘5‘ {\ll‘EN'S .'\.\'l) .\l [SSES' l(l£( .l 'l. \ K
.‘ “5‘52 to 44 inches bust lll".l~"lr".
“"0 size and give length from back of
”ii to hem. S'Iiripiii': \\’l‘i"lll. 2 pounds.
31°40.0'-lil.wk with red.
P194001—Brnwn with

._..-

 

PLAY“: *8 1925

CUES/non %vom

flie tgiiwemlile (Sf/58625“

31 D 40 55
All W00]
5 triped
French
Serge

$|0948

New Treatment of the Tailored Mode
All wool hairline striped French serge III an exceedingly fine

of
Especially I
Fine

Quality

'quzility. is strikingly used in this frock of Paris inspiration. which

gains additional Sillurtlli'sfl by having contrasting color all wool
tldnnv'l for I-IiI-ctiw- trimming. _ n
The ILIIInI-l Is featured :Is the inner helm: of the l.ItPst style “kick

'plPut lit the Sltll‘. as Well as for tht' CIIllM’. piping Mid tIIilIIrI'tl

l)Utl()nl|Hl4'~l; the litttf‘r in Combination with orimmt-Iitul mzitchinu
color buttons. is Shown on thI' siIlI'S of the plI'IIt.

useful for It his :I kI-rChiI-i l-ll) fold of silk. in hurnionizinu shmlt‘

' with the other trimming. This dress is it mutehh-ss value at our

low [Iriflu
\\'().\ll‘.\"S AND KllSSES REGULAR SlllCS—32 to 44

inth-s hust Int-.murv. State size and give length from back -

of neck to bottom of skirt. Shipping; wt.. 2 lbs. 310 93

3104038 —.\'.Ivy with white stripes ...... _ .....

Dress is mule ‘
with small patch pockets. thI- luwI-r one more ornamental thzin .

 

 

$13.95

31 D 4065

All W l
Crepe” $ 8 98
Ensemble s

Effect

A Striking Example of the
Ensemble Costume Dress
\thrI-ver you find :I group of stylishly
dressed women. take note of the number who
are wearing ensemble effect frocks. this being
the newest mode of the prevailing seu9on.
Typical of this III-amine style and priced
allurinuly low is this handsome model. for
it has :I full length Cont effect of fine quality
all wool crepe, while the under panel. culls.
Collar and pipim: are in effective Contrast.
brim: made of silk faced duvetyn. liurthcr
trimmi'ie is shown in the form (If Rziyon
(:Irtifiei.Il silk) lIr;IiIl. in lI-Irinor.izinL: shade
and attrzietiu- :Irtitiei.Il silk stitch embroid-

ery. ll'dltlrt'tl below the pockets.
\VUMICN'S ANI) MlSSliS. REGULAR
SIZES—32 to 44 inches lmst measure.
State size and give length from back of
neck to hem. Shipping weight. 2 pounds.
81040.8—Brown with tan.
SID‘OCO—Nzivy with tan. $8.98

115

Necklines were varied although the deep V with insets
was seen most often. Often a middy type sailor tie was used, which
joined at the natural waistline with hanging ends. The "Jenny Neck"
appeared, which was a deeper and wider scoop neckline. Many collars
were just plain and laid flat to the body.

The bustline had not changed and received no emphasis
or attention. The designers just ignored the location of that area
of the anatomy in their designs.

Sleeves had more interest this season. The bishop sleeve,
which had been introduced last year in Harper's was now seen in
many different ways in Sears. In general, sleeves were both slim
and full; open and cuffed; long and short. There were few, if any,
flared sleeves. The use of the cuffed sleeve fit well with the tailored
motif of so many of the costumes. Plates A-7 and A-8 illustrate
several varieties of sleeves that were offered.

There was no real waistline, and when one did appear,
it was placed at the hip level. If defined at all, it was done with a
narrow loose belt, which very often had hanging sashes. Often the
dresses had no waistline seam at all, which gave it the long "chemise"
line. - Also the popularity of the wrap-around and the coat effect
caused the decline of the waistline seam (see plate A-8).

The hipline was not fitted. However it was often defined
by pockets, embroidery, or bead trimming. The extreme right

figure on Plate A-7 illustrates this. Other than this, the hips received

116

no attention since they were now the location of the waistline.

The skirts were definitely shorter this year; this was
evident in the illustrations. They were slim and usually plain.
Sometimes, just at the knee line interest was gained by a godet
flare or by the use of an embroidered design on a plain background
(see Plate A-7). Often there would be slashed pockets at the hip
level; loose belts in the dress back; patch pockets; slashes and
insets; and even inserted pleats. In most instances, the details of
interest of the dresses were found in the skirts more than likely
due to the fact that the bodices were so severe.

Fur finally made its appearance as a feature of trimming,
as in Plate A-7. It was utilized along with the ever popular metal
beading, embroidery, lace fichus, braid, bone buttons, silk, and

metal.

Harper's Bazaar--l925

 

There was an obvious trend toward a new silhouette this
year. The old tube was not entirely rejected but the new, flared
idea was seen often. It was often slightly molded and clung slightly
to and outlined the body. Often it fit the hips quite snugly and curved
in below them (see Plate B-i7). The flare may come from the shoulders,
the hips, or just below the knees . It may go all around, or just be in
back or in front. Frequently it was accompanied by godets, circular
insets, ruffles, or even partially stitched pleats. It created an

animated line which was slender while at rest and caused a graceful

L11“: B»?
1929

hi

   

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118
flutter while in motion.

The neckline was moderately high and often was set off
by the use of a little collar. The high scarf neckline was still seen
although was not as prevalent as 1924. Sleeves were odd and interesting.
Often there would be a flare between the elbow and the cuff.

Again, bodices were straight and flat with little decoration
placed there for eye interest. Seaming was at a minimum. Trimming
was at a minimum in that area and when used, the purpose was only
to draw the eye to the skirt of the costume.

There was no waistline to speak of. If any, it was located
at the hipline. There was a slight tendency to draw the eye to where
the waist should be by the use of boleros, revers, gilets, fitted pockets,
trimming, tucks, seams, and ornamental stitching. In general, it
may be said that this was not a time for true waists.

The hipline, as mentioned previously, was a point of
interest for it provided the level for the break in the design. It was
at this point that the fullness of the skirt would begin; it was here
that the belt, if any, would be placed; and it was here that the decoration
for interest would begin, as in the buttons as seen in Plate B-7.

Skirt lengths were short, extending to a little below the
knee. This aided in giving extra emphasis to the legs and feet and
gave importance to the styling of shoes and hose. This skirt length
was the shortest yet seen during this decade.

There was a tremendous variety of trimmings available

119
although the philosophy governing their use seemed to be to
accentuate the design and not to detract from it by over-trimming
it. Light beading was used, as were laces, fringes, flowers, self

bows, batik designs, and jewelry. All were advocated for the stylish.

Factors of Comparis on

 

The fashions in Sears this year emphasized the tailored
look. There was a noticeable absence of a waistline and the cos-
tume was very severe. In Harper's, a new look appeared. It was
flared and fitted. The trend toward the snug fit which began to be
evident in 1924 was carried to further extremes. The hip areas
of the dresses clung to the curves of the body. While the catalog
dresses ignored the waist, those in Harper's called attention to it
by gathers, seaming, and draping.

Harper's showed the high neckline but the V neck was
predominant in Sears. Sleeve interest was important in both publi-
cations. Skirts are an important feature, for in Harper's they were
very evidently shorter than before and much shorter than those
illustrated in Sears.

Fur continued as a trimming in Harper's but was intro-
duced for the first time in the catalogs. The use of other trimmings
continued to the same extent.

The models in Sears were gradually becoming more

aloof. The cloche appeared on the figures and some of them had

120

bobbed hair. The Harper's fashions illustrated were beginning to

resemble the look that is most often associated with the flapper.

Sears Roebuck Catalogs --l926

 

The two piece outfit, by means of an overblouse, was
considered chic and up-to-date. Floral silk prints were also in an
important position this year. The silhouette was still extremely
slim with no real fit. The interest in each ensemble was predominantly
in the skirt. The bodices remained rather plain and the bustline was
still completely ignored. There were still some open necklines to
be seen but the appearance of the closed, high collar in the oriental
style had made its appearance and was very prevalent. The narrow
band tied and had loose tie-ends that hung down in front, often with
tassel ends. . The open V collar with lapels was also very popular and
was pictured often.

Sleeves were almost all set-in, long, slim, and cuffed
at the wrist. The fullness varied from the extremely slim sleeve
to those that have fullness as in a man's shirt; but the close cuff was
seen on almost all designs.

The waistline was still absent and was seen at the hip level.
The hips were defined by a narrow belt at the line, by a tie and bow
at the line, or by a flounce or pleats just below the line. - Examples
of these are in Plate A-lO. The skirts were predominantly slim

although there was a tendency to exhibit interest below the hipline.

PLA '1'?)
1926

-9

\

(Descriptions of (Dresses Shown.
on Opposite (Page)

Yet Inexpensrve
~ Tusnodel makessmsrt useot'All Wool
as its fabric. Graceful animation is
.t to the straigbtline silhouette of the
.a by means of the pleated insert
ls. which are outlined with tinsel and
new (artificial silk) embroidery. The
“so: is also embellished with embroid-
‘ -, as are the pointed tabs that finish
ends. Contrasting color crepe is
‘ther ferns of trimming. employed as
.3“ at the neck. cuffs and pocket tabs.
latter showing ornamental metal but-

s on either .
Ham's sad lls'un' Regular Siste—
-34.36.38. 40. 42 and 44 inches bust
sure. Lengths from back of neck to
, M and 41 inches only. State also
length desired. Shipdng weight.

mill-088400“ Brown.- $838

Adorned With Hand
Embroidery

fine quality All Wool Point ssm is
.smatt fabric that fashions this flatter-
.style frock in latest two-piece efiect.

The skirt is cut with graceful circular
ye fullness at front. while the back of
I nodel is made on popuhr straight
as. Quite lovely and most striking is
I adornment of exquisite hand em-
‘dery. artfully placed at one side of
ssblouse and as a chic final touch on,
. nodish pufi sleeves.

' sad Mirm' Regular Sisa—
a'sm'ss. so. 42 and 44 inches bust
.sure. Lengths from back of neck to
.Jland46inchesonl . Stats-Isa
at length dashed. S 1 weight.

##MO—Navy blue. $11.98

New York’s Very Latest
We offer here an exquisitely styled
ck‘of'fine quality All Silt Fist Crepe.
b made distinctive and ultra chic by
dab adornment of hand knotted friue.
gun-d on the hack in rape eflect. on
himnt of the skirt and as a charming
fill at the ends of the modish scarf
Ir. Other interesting style notes that
amine-ad this frock to WI: selection
Itbe sash tying smart pull eeves and
ml: at the waistline.
K's and Kisses“ Reg—is! Sines—32,
.38.”.42and44lnchesbnstmeasure.
frombackofneck tolletmflnnddl
“only. State also null length. “9’
.Iught. 2 pounds.
Il'MU—Grecn (Peter Pan.)

32%QT3'S...” $15-95

Preferred New Fashion
Ads ed on otherwise swagger straight
lines fine quality All Wool Reps-Shoes.
the frock is belted at the waistline shown-
tal buckle

an forsdjustment.
. ' looking tinsel and Rayon artificial
silk) embroidered! edging l a chic
finish to the shape” long sleeves. to the
collar and front the bodice; in the
latter instance watered with attractive
“smiths... mm... ....
on n t s use-
f‘al and practical for m is!" and
nter service; one that gals h
every way. in spite of its very price.
Women's and Mitre! Sires—-
32. 34. 36, 38. 40. ‘2 and 44 inches bust
measure. Len hs from back of neck to

hem. 44 and 4 inches onl State also
and length desired. sni

inns weight.

83le Smart Model

It has a distinctive air. this attractive
(rock of Hairline Plaid All Wool Serge.
Gracefully fashioned with flare cut panels
at the lower sides. the frock gains a very
smart eflect by trimming of contrasting
color all wool flannel which is in harmony
with plaid pattern of the fabric. Rows of
novelty bone buttons have also been used
in a decorative manner. on either side of
the vestee and as‘ finishing touches on the
fared panels.

 

2 pounds.

Women’s and Misses’ Regain Sisa—
32.34.36,”.4m41anduinchesbust
measure. Lengths from back of neck to
hem. 43 and 46 inches only. Stats also
and length . Shpg. wt.. 2 lbs.

11:. I floss—emu with $10.95

Fabric

This frock elects All Wool SW
Cashmere Flsnsd. a delightful new fabric
of soft. supple texture. easing appear-
ance and sturdy durabi ty.

It would be spite tailored in efl

collar.

front nel. the pockets and on the stylish

fives. A smart fini touch is

ent byanall around helt.s nga

grandson: metal buckle ornament at
ron

Women's and Mhm’ Regular Sisa—

32.“ 36.38.40. “and “inchesbust

measure. Lengths from back of neck to

hem.«and41inchesonl . Stats-ha

ondlength. Shipping. 2 pounds.
as.

Em“ $9.98

     
     

     
   
 
 
      

.l

31F3035
c411 Wool
Crepe

$8 9.8

 
 
   

,v
31F304O
(All IVool

(Poiret
Sheen

$1199

 

FLA TE A --10, ‘
1926

(7&0 c V051 ‘1hu11111j1113!y1€5

1Ll(/))C (t/bIHIu1 1H LA/L’iL’iZ/O‘I'k)
. , .

—— — C '1 NJ at, owC'r (Prices

“711cm ‘Xlou. ‘libulu’ Snug d/Scw/zcre.

 

31F304~5

c 411511k.
Flat

Crepe

$159—5

." r ‘
/ 3lF3OSS ,

(xi/1 ll '00]

 

 

(17 1859 (Dresses dire
‘Ju 11y (Described
on Opposite (Page

  
 

3117 3050
c/Ill IVool
‘chp ~5hecrz

$99.5
1

 
 

 

31F306t
(41/11/001
"51./VHF GIG l'
Ctlsluncr.‘

Flannel
$928

 
 
  
 
    

Fre nch
St’ r'ge
lV/(lr
[fair/1m:
l131d I'd

$10 9—5

 

. -v.(, -—'
n
— _-.- _

 

 

 

123
This was accomplished by using a flare, tucking, inserts, godets,
pleats, fringe, and other devices. Skirts were extremely short,
the shortest they have been as yet in this time period for Sears.
The trimmings utilized were approximately the same as
those used in the previous years. However, buttons were now more
evident on the designs purely for decorative purposes. The accom-

panying plate illustrates this (Plate A-lO).

Harper's Bazaar--l926

 

The silhouette seemed to be conservative but a most con-
spicuous new tendency gave importance to the upper part of the frock
rather than the lower. Slim straightness was accentuated but freedom
of movement was allowed. The tunic lines, the back blousing, and
the all around blousing, and the bolero contributed to this. A notable
trend was the complication of cut which was disguised as simplicity.

There was a great variety of collars. The collar was
turned down at the neck base and either laid flat or crinkled. Cape
collars, jabot revers, deep V décolletés, fur collars with hoods in
the back, and even the Capucian hood were seen in the offerings of
this year.

Sleeves also provided an area of interest for this year
for Harper's. The new ones were the leg-of-mutton sleeve and the
kimono. The general favorite seemed to be the long plain sleeve.

There were bishop sleeves; those that closed to the elbow and had

1 It". T3 B ~8
19 2'6

 

 

 

126

circular frill; double sleeves with undercuffs; and those that puffed
at the elbow or at the cuff. Some afternoon dresses were shown that
were sleeveless or had just a shoulder cap. Sleeve variety may be
seen in Plates B-8 and B-9.

The waistline was anchored firmly at the very top of the
hip. Great importance was given to belts, sashes, and girdles to
draw attention to this area. In many cases these devices even served
to create the illusion of the normal waistline. One of the popular
ways to achieve this was a curved line sloping up the front from a
low back line. The bodice bloused slightly in back with a swathed hip
and a softly full skirt. Another means was to use a tight hip band,

a bloused bodice, and a pleated or shirred skirt; both of these methods
created the illusion of a normal waist.

Hemlines came into focus this year as a fashion item.

The .uneven hemline made its first appearance. The effect was achieved
in several ways: by loose panels, by fringed hemlines, by pleated
flares; and by fish-tails on chiffon frocks. The overall effect was to
create hemline interest in the skirts and often gave the effect of

greater hem fullness than actually existed.

Trimming seemed to have played a smaller role in fashion
this year (1926). The important factor was thefine working of the
fabric itself: pin tucks, lingerie tucks, mass cordings; quilting with
metal thread, shirring, and bias bands. Pleating of all kinds was used

as was beading and fringe. Self or chiffon flowers were also seen often.

Gucartn. Dam! MODEL

For those occasions when you need a frock
of the more dressy type. you will be leased
to have this lovely model of line qu ity All
Silk Georodls Crepe.

it is fashioned in the latest New York
manner; having a softly bloused bodice ‘Vlih
a V shs oke of pleated. contrastin
Georgette an a tie of self color. tnmme
with a handsome rhinestone pin. The Iltlrl.
is made with a wide tucked l'llp band and
circular drapery scale at front. that are
shined on to . and code with slut-ring at
wrist. also l’end smartnese to the frock.
Comes with Tub Silk Blip.

‘ Women's and Misue' aim to ilk—34. 36.
38. 40. 42 and 44 in. bust measure. Length.
from back of neck to hem. 42 in. only with
5 in. heated hem. Btste use. See measuring
instructions on page 28. Shpg. wt.. 2 lbs.

“wt-Li” 3"" $13.95

PIATE A ~11
1928

o JV PAS H10 N
(fl @WOur WEBW Stale

 

 

Printed
All Silk

Chine
:95

1" . l

\

Two'szcz Faocr

Attractive two-piece frock of Printed
All Silk Crepe de China.

The blouse has the new V neck line.
a pleated jabot frill and chic. scalloped
lower edge. it shows eflective “trim-
mings of black and white Flat Silk Crepe.
and the belt fastens with a novelty
buckle. The pleated skirt is attached to
it Seen bodice lining. A very attractive
model for street or sports wear.

Women's and Misses’ sizes (0 fit—~34.
36. 38 and 40 in. bust measure. Length,
from back of neck to hem. 40 in. only.
with 5 in. basted hem. State size Sm:
measuring instructiunn on pauv- ‘J\

th2 wt.. 21b». .
31L2805—Whitc mm mm $9.95

3lL2805

Crepe dc

Fiat Crepe . '

”37.5

   
 
    
     
   
 
  
   

3iL2810
Anna

  
 
  

'

  
 
 
 

\

 
 

\

 
   
 

New AND SMART

Tucking and lasting—the two most
popular style t emes of the season—
were used to decorative efl’cct in the (le-
si n of this All Silk ["1411 ('rrpr. frock
h nterisl and tailoring in this dress are of
exceptionally fine quality.

Has graceful sash lmw of self material
at one side of the Willllllfl“. and a novel-
t ornamental How-r cluster adorns the

s lOllltlt‘r. llrcnn trimmed both front and
back.

ll'omrn's um! .lfmwn' sizes in fits—34
31$, lik‘. w, 4‘: nml H in. hunt measure
lmhgti- mm l'm'k of neck to hem. 42 in
«mly Will 7.. H. busted hem. State size
Sm- rut-wrung mwtruvtions on page 28
Si {'ll \t? _ '.‘ ‘lm
371.285”) Hal-w (How (Tall)

31 L381? \Vn'x‘ liluu $13.75

PLATE A-l'2
1928

311.2825
All Silk.
Crepe Sati

it 311.2828

‘.. I 1'
‘ 559—8 Crepearp

Or Plum FABRIC

We oler here a very charmin .
inea nsive frock. becomin y
lash oned oi Silk Warp Figured
Crepe.

Tie blouse is made with a de-
tachable Tan Crepe vestee. trim-
med at the neck with novelty
buttons and buttonholes. The
skirt is gracefully boa pleated;
the plea ng held in place with
ix?“ otletitchtiai‘il ac'ross that top.

avy ue arp epe
was used for the collar. cuffs and
lower border. Belt has an orna-
mental buckle.

Women's and Misses’ sisss to
t:—34. 86. 88 40. 42 and 44 in.
net measure. Length. from back

of neck to hem. 42 inches only with

8 inch basted hem. State sise.
measuring instructions on this

page. Bhpg. wt.. 2 lbs.

31 LZOZO—Navy Blue Figured

$5.98

can

Voile

3m

 

Annscrlvn Monet.

Smart new style themes and
s Iovel fabric combine in mak-
i g the frock appealing and
d irable.

Ada ted in lustrous All Silk
Crepe en's. it portrays a chic
treatment of the popular two
piece eflect model.

The blouse is shirred at the
shoulders. has a bow at the neck
and shows an openin at one
side. where it reveals ssh color
Crepe Satin trimmed with
novelty buttons. The skirt is
made graceful with a circular

cut. draper panel which is
finished wit shirrin on top.
Frock has a 0 ice lining.

attached to the skirt.

Women's and Missss' sires to

t:.—34 86. 38. 40. 42 and 44
nches bust measure. Length.
irom back oi neck to hem. 42
in. onl with 5 inch bested
hem. tate sise. Bee measur-
ing instructions on this page.
Shpg. wt.. 2 lbs.

‘ 31L2825—Blaok with Flesh

$11.95

311.2830
"Ch ' onetie

 

CHARMING SrvLs

This irock portrays a design
of the latest mode and is
smartly adapted in flower
print "Chilonette"—a
quality. durable Rayon Voi e.

Contrasting color Crepe do

hine. was used for the nun.
sha yoke. streamer tie.
rm n: at the wrist and (or tac-
ng t e gracetui cascade dra
cry on the skirt. Rows of sh r-
rin trim the shoulders. cufls
an top of the skirt. A lovely
rhinestone ornament is shown
at one side 0! the waistline.
Blouse is made over a Rayon
Crepe lining.

A becomingly styled. well
made frock at a very moderate
price.

Women's and Misses' sires te
fl‘:—Ma 80. 88s ‘0' ‘2 .nd “
inches bust measure. Le h.
lrom back oi neck to hem 4 in.
only with 5 inch bested hem.
State sise. Bee measuring in-
structions on this page. Hum.
wt.. 2 lbs.

3| L2830—Navy Blue Fancy

$7.98

129
Silver and gold spangles which caused shiny and dull surfaces were

als o quite important.

Factor 5 of Comparison

 

There were several introductions in the Sears catalogs
during this year that had become rather passé in Harper's. Among
these were the high neckline, the use of buttons as trimming, the
shorter skirt, the overblouse, the cloche and accessories, and
bobbed hair. Sears showed reduced sleeve interest while this aspect
of design was emphasized in Harper's.

In the catalogs, the skirts were the focal point of interest
with hips being loose in fit. The opposite was evident in Harper's
where interest was placed on the bodice. In addition, skirts were
anchored closely to the hipline for better fit. It was during this year
that the uneven hemline appeared for the first time in Harper's.
Another change noted in Harper's that did not appear in Sears, was

a slight blousing of the bodice over the waistline.

1928—1929

 

Sear s Roebuck Catalogs

 

The silhouette throughout these last two years of the '
decade remained as it had been for the previous eight years .
straight, slim, and shapeless. There were however, some obvious
changes within the designs themselves. During these last two years,

especially in the early part of 1928, the V neckline was most prevalent.

130

As the year went on, collars came into popularity and nearly every
dress was shown with one. The styles varied from a. short collar to
long lapels reaching to waist level with a dickeyinsert. 1929 saw the
beginning of new interest in collar draping. There were many cape
collars which gave a wide effect. The latter part of 1929 was witness
to the advent of the collar and tie and a high round neck reaching to
the throat base.

The general trend for sleeves during the two years was
the long, wrist-length, close-fitting sleeve. The use of cuffs was
popular and sometimes soft fullness was attained by wrist gathers.
The bustline still received no attention and was entirely flat. However,
in 1928 there was a tendency for the bodice of the dress to blouse
slightly over the hip-waistline. This gave added softness to an other-
wise stark looking outfit.

An'important change took place at the hip level. The
trend began in 1928 (see Plates A-11 and A-lZ). The hipline was
often tucked or gathered by a belt with a rosette. Belts were utilized
and were either narrow or wide and crushed or pleated. Wide tucked
sashes were often decorated by buttons or buckles. There was much
interest in theme carry through. The real change took place in 1929,
when hips were fitted to the body. The swathed hip was seen on almost
all the dresses shown (see Plates A-14 and A-15). It consisted of a yoke
effect which was rounded and often gathered to a rosette or bow in

front or at the side. Often a wide crushed or pleated sash was utilized.

HATE A-13
1929

DESCRIPTIONS
for OPPOSITE PAGE

31 RSOOO—Red. Yellow and $ 98

(A) Blue (As large illustration: 8
31R5001—Blue Yellow an _
Tan (As small illustration)

Here is a chic frock of fine quality All Silk Flat
Crepe. that blithely expresses Springtime in its
colorful flower print-and raccful new surplice col-
lar of Paris inspiration. he price is very low as
you would expect it to bc—at Sears.

Beige All Silk Georgette Crepe edged with hand-
some imitation Venise lace. fashions the smart
collar. vestee and cuffs. it features a skirt yoke of
unusual design, trimmed with Georgette covered
buttons.

Women's Sises 34 to 44 inches bust mun. Stats
sise. See measuring instructions an page 5.

We pay the postage.

31 RSOOS—Englleh Red $ 98
(B) 31 RSOOG—Navlgator Blue 9
(Med. Blue) —
31 R5007—Blaek
Stressing youth. stressing line. stressing beauty—
presenting in short. complete smartness; this frock
of All Silk Flat Crepe is an unparalled value at this
modest price.
it has a soft fichu-like collar with an inset of ecru
Venise lace, a softly bloused bodice. and a skirt that
flares gracefully from its curved yoke. Modernistic
pins add smart accent to the collar and hip bow.
’Wamen's Sizes—34 to 414 inches bust measure.
State size. See measuring instructions on page 5.
e pay the postage.

31 R so 1 om.“
(C) 31%?31'1135luk $99—8

A New York frock of singular distinction in-
creases the smartncse of its style by the suave
shimmering beauty of its fabric. Fashioned of All
Silk Crepe Satin and made with e bloused bodice.
swathed hip line and a noteworthy flared overskirt
of intricate cut. Dainty ccru French lace outlines
a "V" neck. front and back.’ Rose beige Geor ette
Crepe Is used for the. jabot and to face the ack
”V' . Has Rayon bodice lining.

Women’s Sizes—34 to 44 int-lies bust measure.
Stats sise. See measuring instructions on page 5.

a pay the postage.

31 R501 5—Garland Green(Metl. 98
(D) Lt. Green) with Polo Green
(Med. Dark Green) Trimming —

31 R501 G—Marron Glace (Cocoa Tan) with
Rose Beige Trimming
31 R5017—Navy Blue with Monet Blue
Trimming .
The discriminating women chooses for 8 ring-
time weer. the tailored frock of All Silk Flat repc.
This smart model displa s faultless workmanship,
the distinct im rint of ew York origin—and yet
costs only 57.9 . _
A darker shade of the fabric is used to em hunt:
the pointed trimming on bodice and cufis. urved
tucking and jewelleil ins-on the shoulder and waist
bows successfully ad to Its charm.
Women's Sizes—«'34 to 44 inches bust measure.
State sise. See measuri instructions on page 5.
We our Post-se-

(E) 31R5020—‘l’an r...” m... 3 42g

A practical. gracefv lly styled frock which will
give excellent service. is modishl fashioned of cod
qualit , durable Printed Silk arp Crepe. ()lld
color gllk Warp Crepefpipes the V shaped yoke and
trims the jabot. The raped girdle reveals rows of
shirring from which the slurt front falls In a
circular flare. '

A drooping flower of self material adorns the
shoulder. Dainty buttons and a buckle complete its
electivsnese.

Women’s Sires-4M to 4‘ inches bust measure.
State size. See measuring instructions on page 5.

We pay the postage.

.-
_. - ___.-

PLALE A-1u
1929

b%£§)s .7 ’3'

56"

4Q
.‘l

    
 
 

 
 
   
 

it

  
 
 
 

d
a

 

   
 
 

SILK “All?
CREPE VENISE

$44.39:

 

ALI. SILK
CIEI'E SATIN
All. SILK

.\ ‘ S 993 runs CREPE
k (3.1:) 0",” v

e an ~
If” WJ
;

  
  
  
 

 

 

DI‘SCleONS
W ARE 01‘ "V
OPPOSITE PAGE

I

PLATE A-lS
1929

,\ gut-.51-

' 51 ”VIII

«0“ EVERY
OCCAQION

    
 

POSTPAID

98 ALLSILK

"" omeenr.
CREPE

31 RSOSS—Na
31 R5055——Gar and

Green (Soft Med. Green)

The loveliest at is themes of the
season are st in this exquisite
frock: in the bodies with its soft.
flowing .drapery. back and front.-
in the dipping skirt of dt uble circu-
lar tiers. that achieves the new ir-
r uier hem line._

he swathed hip yoke is enriched
with pin tucking and a noteworthy
modernistic jewelied pin.

The dress is made on a tub silk
foundation. and the neck yoke is
lined with Flesh color All Silk
Georgette.

Women's and Missee' Sires—34.
36. 38. ‘0. 42 and 44 inches bust mea-
sure. State sise.

134
There were few if any, narrow belts used.

The skirts during both years, barely reached the bottom
of the knee. In nearly each design illustrated, the interest was
placed in the skirt. Some were circular cut; many had hipline
gathers, pleats, or tucks, some had patch or slit pockets; and
occasionally hanging panels were used to give an uneven hemline, as
in Plate A-ll. Despite the flares and pleating, the skirts were slim
in silhouette. In 1929, skirts tended to be flared. They would
swing out from below the fitted hip. They were often tiered with
loose panels to give an uneven hemline as seen in Plate A-15. This
trend was marking the beginning of the drop in hem length that was to
take place the very next year in American fashions.

Trimmings were not too different than the years previous.
Shirring, tucking, and pleating were dominant and some evidence of
at least one is seen in each garment shown. Dickies, buckles,
rosettes, buttons, braid, embroidered net, lace, flowers, braid,
bows, and others were used to accentuate the garment under

consideration.

Harper' 3 Bazaar--1928

 

The fashions for this year were not too different from
those of the year previously covered. The silhouette was generally
the same. . . slim, straight, and shapeless. Sleeves were considered

unimportant to the fashion picture except in evening wear. Necklines

were so varied that anything could be had depending on the individual

 

FLA TE B --10
1928

THE YWEED ENSEMBUE’ [5’ A

FRI/WE FAVORITE

A tweed ensemble in beige and brown Irom
Abercrombie and Fitch. T he coat has a
collar of ombré caracul, the knit fumper
has a block pattern in rose and beige.

 

, ...-‘-....‘ ..
“73‘ .1: 3:33-

, , .
‘n-..-..'.“
O
C

315?? .. ‘
Inblqp- ‘

.. .......
..l....

.._

u. as.
'0‘..-

--. a.

Y
‘53‘

:5”:
I 3f
5?."

\ *.
“HQ?"-

um:
2;.12' .
rant... .1

 

 

 

 

 

Imported snow/lake tweed
makes a dress and coat en-
semble, from Bergdorf Good-
mén. Flat white caracul trims
the collar and cuiTs and
faces the edges of the short, '
loose coat. Gray grosgrain rib-
bon forms the belt and pochet
facings as well as pipims.

Rough diagonal tweed is used
for an ensemble from Knox.
The long coat has slot seams
and a standing collar. A knit
jumper of silk and wool in
a lacy weave repeats in a
broken stripe the rose and
putty shades appearing in the
tweed. The belt is tweed.

A sophisticated tweed en-
semble of beige and reddish
mixture from Brut-h Weiss is
complemented by a red crep-
ella frock T he coat is lined
with (repel/d. A hat allde
of red, beige and black hand-
woven wool from Courier
are imported by Rruch H’eiss.

PLATE B—lJ.
1928

 

 

 

i

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

x lujmlm
1 1 I ITIIIIJIIII
mxli‘l‘II LUIIJIIIII
um U111 1111111111
‘1111111111 IIIIIIIITII
11(11111111 IIIIIHmI
Illllull‘I 711111111XI
unlxxulx ruIIIIIIII
Ilninlllx 11u1111111
1111 lfiIITT IILIIIIIIII
llTlIIIlllX IIIIIIIJJIF
JnITIllIIT IIYIITIIIII
IIIIHIIIII IIIILIIIIII
uxxxxixxxr IIIIIILIIII
1'A'I‘III I'RliJiET
/.\. I.’Ill’ n Ins/united o/ one o/ the new lilmh silh
lira/1m, with .\ small «lot in bright \i/h on .\ (ill/l
{emu/anon.

[he bou'n'e is httni and all the shirt is
I I
[muteti linen.

leatnring this senson.
[he ..\”.\r is u lute growl-din Piped
in rui. and It ties in the luré “Ii/l tuo tial how 5.

".llise an Point" is an afternoon gown in black crepe
({l' Chine, with the elaborate shirt which l’remet is

The bark is trimmed with
narrow platted frills running up diagonal/s to the
hip. 7 he collar and culls are touched with white.

137
desire. Waistlines varied from none at all,to a normal level, however
the usual placement was the top of the hip as it had been for so long.
Skirts invariably involved some type of drapery or fullness for interest.
Again, since the bodices were so plain, the skirt was given the respon-
sibility of holding the eye of the viewer. Skirts for sport wear were
short as they had been (see Plate B-lO) but in daytime dresses and
especially in cocktail and dinner wear, the hemline had gone down to
several inches below the knee. Formal wear ranged from the length
of the day-dress to floor length. In all, it may be assumed that this
year was one of fashion transition for there were several trends that
were acceptable and each seemed to be a slight variation from what

had been in vogue.

Harper' 3 Bazaar--l929

 

The change did come . . . hemlines went down and waist-
lines went up. The uneven hemline came in in full force and was seen
on numerous designs (see Plates B-12 and B-l3). Hanging panels
and transparent hems were in use for both afternoon and for day
wear. Waistlines varied but several designs featured a normal line
and this indicated a trend that would follow. Hemlines also, were not
all the same but the extent of the appearance of the unevenness is
sufficient'to have provided a basis for the assumption that further changes
would occur.

The balance of the points of the fashion picture during

this year are similar to 1928, in that there was no definite trend for

138
any one of them. There were varieties of collars, necklines, sleeves,
and bodices. As can be seen from the selected plates for this year,
each design is individual in relation to its design and yet they do

share some of the 1929 trends.

Factors of Comparison

 

The year 1928 was one of change for the Sears fashions.
There was collar interest and a tendency toward draping. Pleats
were very prevalent and were seen on almost every design. There
was a slight blousing of the bodice, a feature that had already been
seen in Harper‘s. Skirts stressed hip interest, and in 1929 the
swathed hip was most prevalent. The short skirt reached its extreme,
a level that had already been seen in Harper's fashions. The uneven
hemline also appeared and was shown in moderation.

1928 was a relatively unimportant one for fashion change
as seen in Harper's. The styles continued in the same path as they
had the previous year, and in reality, were quite parallel to those
shown in Sears. The major change in Harper's occurred in 1929,
when the established trends were all but shattered.

This was the year of the greatest differences. Waistlines
climbed to their natural location and were fitted to the form of the
wearer. The hiplines became normal and in most instances skirts
were so loose that the hipline became all but unimportant. The

uneven hemline was seen to a great extent and aided in lowering the

139
hemlines. Dresses that did not have the uneven line had hemlines
that were much. longer than had been seen for several years.

The greatest likeness to the flapper silhouette occurred
in 1928 and 192.9 in the Sears catalogs. In Harper's, it appeared as
early as 1925, with extremes of dress looseness, skirt length, and
general silhouette. In addition, the appearance of the models followed
this trend, whereas in Sears, this did not become as apparent until
the end of the decade.

In general, it may be said that the indications of the trends
appeared first, and in the most extreme manner, in Harper's; they
were adapted from one season to three years later in the Sears
catalogs. Since the majority of the Harper's designs are designer
originals, and the catalogs advertise the fact that they obtain their
designs from the originals, it is natural to conclude that similar ones

would appear later in the Sears catalogs.

 

PLATE 8-12 1929

 

 

 

DRISCULL- [flu/2R

Uri-ml] [in-r [mu .1 Inn/v dill-mum:
("1;”)! of tin lira/mi type. wit um! hm-
iuim. in him/.- .ri-pe .mtiu. 'I'hr sunjf.
«in important initnn' ul thr (Irrss‘, is
u! illurtrruu' satin nu um' shit". h/mk
un illt' nihrr. 'I'ln' l/I'HI iim- is mm'rn,
as it often is far ufirriimnii this suisutt.

.1 "(mi (i/hmn‘ill‘, rival/ing I/Ii‘ mmli's‘ of
I\fi)-.\'n, just lirihirt' ”It' hllslh' liruHHi'
runrmum, huv hri'H Hui/2w! Iiv I’n-mrt
[his \ntwm. II is «inm- in tmnen cm-
mttr \i/i' slink/mi with white. 'I'hr
tlit\t'l\' III/Hi hmlii r hIt/luils HP Illi' luli h“ llittl
lhr m/lair «uni injls «ire ‘u'hitr nrgcimiic'.

 

quo‘

. . we. may 4 MIA

‘0

-‘ ml. 43..

a? ’5‘. 4 WIN-”’- , f

y r ‘ vies" 445;:

Q ‘ ( -

 

11* a LI; B ”13 l

\ L;
hf}
\C

 

 

 

 

‘

 

Drawn in (010! by l\r_\'imlzlu 1.14:6

Rizlll‘ I.i\'.V

This charming afternoon \’
St'mblc from Rediern '
made in lime-green pd!"
velvet. The gown has a set
crate godet panel acn“
the front and a mounlxr
waistline. The three-OW"
er coat, which is mw'
longer in the back, is ~
tectivcly trimmed Wll
black monkey fur and h”
sleeves of elbow Icnfi“

142

CHAPTER VII
SUMMARY AND CONCLUSIONS

Fashions tend to reflect the mood of the day. The poli-
tical, economic, and social conditions that prevail in any area are
the multiple forces whose combination stimulates the trends that
fashions follow. A period of prosperity or depression is mirrored
in the current vogues; so too are the attitudes and morality of the
populace.

During the period under consideration in this thesis, there
were numerous factors which contributed to the change that took place
in this country. For years, women had been striving to attain equal
rights with men under law; they achieved this by means of the Suffrage
A Amendment to the Constitution. World War I brought the United
States into the spotlight as a world power. The war took the young
people out of a sheltered and narrow atmosphere and showed them
clearly and coldly that life was not all good and clean. War also took
the woman out of the home and placed her-in the role of breadwinner
with new responsibilities and new potentialities.

The war stimulated industry, and inventions were made
that both eased and speeded life. The field of travel and communications
also expanded. Radio, motion pictures, and the print media became
vital to the American way of life; they spread news and ideas. The

automobile, which was to become accessible to the masses, enabled

143
an individual to travel more easily and rapidly. The country was
growing smaller, not in size but in the unity of its people.

The postwar period of economic depression and that of
ultimate prosperity during the twenties, was greatly influenced by
all of the aforementioned factors. The process of regaining "normalcy"
after the war was not carried out in the expected manner. Instead of
returning to the accepted conventions, the nation as a whole embarked
on a path that had never before been taken in American history. The
old standards were gone. The outlook and attitudes of the people
were changed. Even prohibition, which previously was thought to be
nearly ideal, reversed itself entirely to become a national joke. The
law-breaking was flaunted and despite opposing efforts, these activities
flourished.

The bitterness of life that was seen as a result of the
war, contributed to the rise of "The Lost Generation. " They were
epitomized and glorified by the writers and artists of the day. These
people were the rebels who protested against the former moral con-
ventions that had been embraced by the majority of Americans.
They felt they had not been satisfied by them and wanted a change. .
a change to freedom without restraint of their thoughts or actions.

The twenties contributed to the fall of the old order. A
revolution had occurred; manners and morals were different. Tradition

was questioned and authority challenged. The values upon which much

144

of the American culture was established had fallen, to be replaced
by a new set of ideals and attitudes.

All of these factors had a profound effect on the fashions
of the period. Looking broadly at fashion, one might say that from
the hoop skirts of 1850 to the hobble skirts of 1910, women remained
essentially encased in the complicated designs of their fitted and
confining clothing.

Although by 1910 skirts were not as large as the period of
the hoops, they still performed the function of hindering movement,
for they then reached the opposite extreme as seen in the hobble
skirt. The problem of locomotion became more acute as women began
to achieve some of the "equal rights" with men they so desired. ~ By
the year 1910, they had taken great strides to come into their own
regarding their rights to pursue independent careers and to gain
equality in the eyes of the law of the country.

As women in general began to leave the home and enter
the world of business, they found themselves enclosed within the snug
seams of their clothing. Almost immediately costume began the rapid
transition from sedate, confining femininity, to worldly, comfortable,
freedom and sophistication. This transition was given a solid boost by
World War I which aided in the breakdown of prewar convention and
gave the American woman one of her final steps toward emancipation.
She found many jobs welcoming her--jobs vacated by the men serving

in the armed services. With this aid, women's fashions made the break

145
with the armor-clad traditions of the past and clothing tookhon an
entirely new look.

The years 1910-1919 were ones of rapid and somewhat
constant fashion change. It was a decade of trial and error and is
important in fashion history for it was a period of preview. A change
was impending and as a result many costumes were presented by
designers in an effort to gain popular acceptance. Many were rejected,
but the pattern of those accepted followed one general trend: the most
popular fashions, after the appearance of the hobble skirt, were
those which enabled freedom of movement and ease in wear and care.

The keynote of the period preceding the nineteen-twenties,
was a trend in simplicity of costume. The silhouette became an
angular and gradually, a flattened tube; actual design lines were
simplified, eliminating the ungainly bustles, drapings, and trains,
and emphasizing vertical seaming. The fit of the garments was
transformed from the shapely and form-fitting to one that was loose,
bloused, and shapeless. However, the use of fitted underlining remained
prevalent until the early nineteen-twenties, when linings of any kind
were almost entirely eliminated. Shoulder lines became less important
to the design as a whole, sleeves were loosened and gradually shortened,
and, of utmost importance, hemlines were raised. These were agood
indication of and stimulus to, the fashions of the twenties.

hDuring the twenties, fashion continued in its path of simpli-

fication of dress. The tubular look became the ideal and the stress

146

was placed on youth and immaturity. Any resemblance to a mature,
female form was attained purely by accident or by a lack of the desire
to be in style. The scanty, short skirted dress of women during the
twenties was, perhaps, the highest form of devotion to the new
America that a woman could attempt.

At this time of youth glorification, a figure of woman
came to fore, and eventually became the stereotyped image of the
woman of that day. This figure was the flapper. It is difficult to
establish her advent into American life. Through the years she has
been associated with the twenties, even though the term was utilized
as early as 1910.

Regardless of this, the flapper was the nonconformist of
her era. Her body, her clothes, and her actions were always the
extreme. She was the lankiest, most immature female. Her hair
was shortest, her face and nails the most brilliantly painted. Her
dresses were the scantiest, both in width and length; and of course,
she rolled her stockings. She was associated with the Black .Bottom
and the Charleston; the roadster, the cigarette, the hip-flask, and
the raccoon coat. She was the youth ofthe twenties . . . idealized
and glamorized to the point where she will live on in the minds of
Americans.

Despite the publicity given to the flapper, the fashions of
the twenties, as seen in publications of the period, did not reach the

eXtremes that might have been expected. This is not to say that some

147

girls did not dress in that manner, but only that the general fashion
offerings did not illustrate the extremes.

As always, as fashion spread across the country, they
will be accepted and modified according to the individuals involved.
The comparative fashion study conducted with the Sears Roebuck
catalogs and Harper's Bazaar magazine, illustrates this very clearly.
Harper‘s Bazaar, since it featured fashions from the Parisian
couturiers, set the trends. These clothes, while usually extreme
in design, embodied the themes of the clothes for each season. The
originals could only be selected and worn by those having the money
to purchase them and the occasions to wear them. As the fashions
were presented in the catalogs, they were in a modified state. The
major trends were one season to three years late in their presentations,
due both to the travel and communication factor, and also because
of the fact that the extreme items would not be acceptable to the
average middle-class American woman.

In spite of the fact that the stereotyped flapper was not
seen in either publication, nor was any mention made of her, the
elements of her characteristic dress were clearly visible. The
simplification of line, the dropped waistlines, the bustline de-emphasis,
the short skirts . . . all of these were part of the flapper, and all
were seen in the current fashions of the twenties. The look most
nearly like the flapper appeared in 1925 in Harper‘s and in 192.8 in

the Sears Roebuck catalogs.

148

By the end of the twenties, there were not only new styles
apparent to the onlooker, but an entirely new look in the American
woman. In but a short span of time, she shed her shackles with the
past. No longer was she the dainty, feminine creature, swathed
under mountains of hair, hats and plumes, encased in stiff collars,
laced corsets, fitted gowns, and trailing skirts, who thought that paints
and powder were the symbols of a jezebel. The "new" woman placed
the accent on youth . . . in mode of dress and in actions. She bobbed
her hair, painted her face, perfumed her body, dieted her figure,
and exposed her limbs . . . all with casual nonchalance. Her clothing
was simple and brief; it had its purpose, and it wasn't to confine the
wearer in any manner. By 1919, this trend was firmly entrenched in
the minds of a good number of American women, and the ensuing
years of the twenties, with their contributions to the changing manners
and morals aided in its spread.

In the process of conducting the research for this thesis,
it was found that the subject and the time period was virtually untouched
as a topic for clothing research. The period of the twenties encompasses
such a wealth of information that numerous ideas for continued research
evolved. Some suggestions for specific studies are the following:

Almost without exception, the available books of costume
history do not sufficiently cover the nineteen-twenties. A survey of
these fashions would be most beneficial, especially if it included

representative photographs of the clothing.

149

Due to the acceptance of the chemise and general demeanor
of the twenties during the years 1958 and 1959, an analytical study
could be conducted to determine why these fashions erupted again,
and how they were similar to the fashions of the twenties.

A comparative study might be made between the fashions
of men and women during the twenties and further in this vein, another
relating them to those of 1958 and 1959.

A more specific study might be conducted of any one of
the background conditions herein discussed, as a motivator of fashion
spread and adoption in the United States.

A specific study could be made of the psychological
factors affecting women during the twenties, and possibly relating
them to dress; social class could be explored in relation to fashion
changes of the nineteen-twenties.

The possibilities of the topic are so broad that it would
be almost impossible to be at a loss for ideas.

This thesis is presented to the reader with the sincere
wish that he finds the content stimulating and that it arouses in him
the desire to learn more about the subject. The author only regrets
that the many facets of the subject could not be fully encompassed in
this paper. It is with the intent of stimulating further research, that

the flapper has been presented.

150

BIBLIOGRAPHY

Books

 

Adams, James Truslow (ed.) Album of American History. Vol. IV:
End of an Era. New York: Charles Scribner's Sons, 1948.

 

 

Addams, Jane. The Spirit of Youth and the City Streets. New York:
The Macmillan Co. , 1912.

 

Allen, Frederick Lewis. The Big Change. New York: Harper and
Brothers, Publishers, 1952.

 

Since Yesterday. New York: Harper and Brothers, Publishers,
1940.

 

 

Only Yesterday. New York: Bantam Books, 1959.

 

 

Ashton, Winifred. The Women's Side. New York: George H. Doran,
Co., 1927.

 

Beard, Mary R. America Through Women's Eyes. New York: The
Macmillan C0. , 1933.,

 

Beaton, Cecil Walter Hardy. The Glass of Fashion. Garden City,
New York: Doubleday, Doran, 8: Co., 1954.

 

 

Binder, Pearl. Muffs and Morals. London: George C. Harrap, 1953.

Bliven, Bruce. Twentiety Century Unlimited. Philadelphia: Lippin-
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Bloch, Marc. The Historian's Craft. New York: Alfred A. Knopf,
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Bogardus, Emory S. Sociology. 4th ed. New York: The Macmillan
Co., 1954.

Fundamentals of Social Psychology. New York: The Century
Company, 1924.

 

 

Bonney, Mabel The’rése (ed. ). Remember When. New York: Coward
MCCann Inc. , 1933.

 

Bradley, Carolyn G. Western World of Costume. New York: Appleton-
Century—Crofts, Inc., 1954.

 

151

Breckenridge, Sophonisba Preston. Women in the Twentieth Century.
New York: McGraw-Hill Book Co. , Inc. , 1933.

 

Brown, Henry Collins. New York of Yesterday. New York: Gracie
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Burnett-Smith, Annie S. As Others See Her. New York: Houghton
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Burris-Meyer, Elizabeth. This is Fashion. New York: Harper and
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Case, Clarence M. Social Process and Human Beings. New York:
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Chamber of Commerce of the United States of America. These

Tremendous Years, 1912-1937. Washington, D. C.: May, 1937.

 

Chambers, Bernice Gertrude. Fashion Fundamentals. New York:
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Chuse, Anne R. Costume Design. Pelham, N. Y. :, Bridgeman
Publishers, 1930.

 

Cohn, David L. The Good Old Days. New York: Simon 8: Schuster,
1940.

 

Crawford, Morris de Camp. One World of Fashion. New York:
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The Ways of Fashion. New York: G. P. Putnam's Sons,
1941.

 

Philosophy in Clothing. New York: Brooklyn Museum Press,
1940.

 

Crump, C. G. History and Historical Research. London: George
Ruttledge & Sons, Ltd. , 192.8.

 

Cunnington, C. Willett. English Women's Clothing in the Present
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The Perfect Lady. New York: Chanticleer Press Inc. , 1948.

 

Why Women Wear Clothes. London: Faber & Faber, Ltd.,
1941.

 

152

Davidson, Marshall B. Life in America. Vol. I 8: 11. Boston:
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Dingwall, Eric John. The American Woman. London: Gerald
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Doob, Leonard W. Public Opinion and Propaganda. New York:
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Propaganda, Its Psychology and Techniques. New York:
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Dulles, Foster Rhea. Twentieth Century America. New York:
Houghton—Mifflin Co. , 1945.

 

Eddy, Josephine F. and Wiley, Elizabeth C. B. Pattern and Dress
Design. New York: Houghton-Mifflin Co., 1932.

 

Erwin, Mabel D. Practical Dress Design. New York: The Macmillan
Co. , 1940.

 

 

 

Clothing for Moderns. New York: The Macmillan Co. , 1949.

Fitzgerald, F. Scott. The Stories of S. Scott Fitzgerald. New York:
Charles Scribner‘s Sons, 1953.

 

Flappers and Philosophers. New York: Charles Scribner's
Sons, 1920.

 

 

The Crack-Up. Edited by Edmund Wilson. New York:
New Directions, 1945.

 

 

This Side of Paradise. New York: Charles Scribner's Sons,
1931.

 

 

Flugel, J. C. The Psychology of Clothes. London: L 8: V Woolf
at the Hogarth Press and Institute of Psychoanalysis, 1930.

 

George, Rev. H. B. Historical Evidence. Oxford: Clarendon Press,

1909.

 

Golden Aniversary of Fashion. New York City, 1948.

 

Goldring, Douglas. The Nineteen Twenties. London: Nicholson 8: 0
Watson, 1945.

 

Gorsline, Douglas. What People Wore. New York: The Viking Press,
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153

Greene, Lawrence. Era of Wonderful Nonsense; A Casebook of the
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Griffith, Richard, and Mayer, Arthur. The Movies. New York:
Simon 8: Schuster, 1957.

 

Gross, Irma H. (ed. ). Potentialities of Women in the Middle Years.
East Lansing, Michigan: Michigan State University Press, 1956.

 

Groves, Ernest Rutherford. The American Woman: the Feminine
Side of a Masculine Civilization. New York: Emerson Books,
Inc. , 1944.

 

 

Hansen, Henny Harald. Costumes and Styles. New York: E. P.
Dutton 8: Co. , Inc. , 1956.

 

Costume Cavalcade. London: Methuen 8: Co. , Ltd. , 1956.

 

 

Harris, Corra May. Flapper Anne. New York: Houghton-Mifflin ,
Co., 1926.

 

Hawes, Elizabeth. Fashion Is Spinach. New York: Random House,
1938.

 

Why Is A Dress? New York: The Viking Press, .1942.

 

It's Still Spinach. Boston: Little, Brown 8: Co., 1954.

 

 

Hemingway, Ernest. The Sun Also Rises. New York: Charles
Scribner's Sons, 1954.

 

Hoffman, Frederick John. Twenties: American Writing in the Post-
war Decade. New York: The Viking Press, 1955.

 

 

Holliday, Robert. Unmentionables. New York: Ray Long 8: Richard
R. Smith, 1933.

 

Hurlock, Elizabeth Bergner. The Psychology of Dress. New York:
The Ronald Press, Co. , 1929.

 

Irwin, Mrs. Inez. Angels and Amazons. Garden City, N. Y.:
Doubleday, Doran 8: Co. , Inc. , 1933.

 

Jensen, Oliver. The Revolt of American Women. New York: Harcourt,
Brace 8: Co. , 1952.

 

La Mode Femininede 1900231920. Paris: 1920.

 

154

Laver, James. Clothes. New York: Horizon Press, 1953.

Taste and Fashion. New York: Dodd, Mead 8: Co. , 1938.

 

 

Lester, Katherine Morris. Historic Costume. Peoria, Illinois:
Charles A. Bennett Co. , Inc. , 1942.

 

Lynd, Robert S. and Helen M. Middletown. New York: Harcourt,
Brace, 8: Co., 1929.

 

Middletown in Transition. New York: Harcourt, Brace 8:
Co. , 1937.

 

 

Mencken, H L. Americana, 1926. New York: Alfred A. Knopf,
1926.

 

Montgomery, John. The Twenties: An Informal Social History.
London: Allen 8: Unwin, 1937.

 

Moore, Doris Langley. The Woman in Fashion. New York: B. T.
Batsford Ltd. , 1949.

 

Morris, Lloyd. Postscript to Yesterday. New York: Random House,
1947.

 

Not So Long Ago. New York: Random House, 1949.

 

 

Incredible New York. New York: Random House, 1951.

 

 

McCardell, Claire. What Shall I Wear? New York: Simon 8:
Schuster, 1956. -

 

Northrup, Belle. The Story of Costume Told in Pictures. New York:
Art Education Press, Inc. , 1935. '

 

Nystrom, Paul Henry. Economics of Fashion. New York: The
Ronald Press Co. , 1928.

 

Oberholtzer, E. P. The Morals of the Movie. Philadelphia: The
Penn Publishing Co. , 1932.

 

Parsons, Frank Alvah. The Psychology of Dress. Garden City,
New York: Doubleday, Doran 8: Co. , Inc. , 1920.

 

The Art of Dress. Garden City, New York: Doubleday,
Doran 8: Co. , Inc. , 1928.

 

 

155

Picken, Mary Brooks. The Fashion Dictionary. New York: Funk
8: Wagnalls Co. , 1957.

 

Rogers, Agnes. Women Are Here To Stay. New York: Harper 8:
Brothers, Publishers, 1949.

 

(assembled by). I Remember Distinctly. New York: Harper
8: Brothers, Publishers, 1947.

 

Roosevelt, Eleanor. It's Up to the Women. New York: Frederick
A. Stokes, Co., 1933.

 

Sandus, Marion K. The Lady and the Vote. Boston: Houghton-
Mifflin Co. , 1956.

 

Sann, Paul. The Lawless Decade. New York: Crown Publishers,
Inc. , 1957.

 

Sellner, Eudora. American Costume. 7 Worcester, Mass.: The
School Arts Magazine, 1925.

 

Slossan, Preston William. A History of American Life. Vol. XII.
New York: The Macmillan Co. , 1930.

 

Spectorsky, A. C. (ed). The College Years. New York: Hawthorne
Books, Inc., 1958.

 

Stokes, Horace Winston (ed. ). Mirrors of the Year 1927-28. New
York: Frederick A. Stokes Co. , 1928.

 

Story, Margaret. Individuality and Clothes. New York: Funk 8:
Wagnalls CO. , 1930.

 

Sullivan, Mark. Our Times. Vol, III. New York: Charles Scribner's
Sons, 1930.

 

Our Times. Vol. IV. New York: Charles Scribner's Sons,
1932.

 

 

Our Times. Vol. V. New York: Charles Scribner's Sons,
1933.

 

 

Our Times. Vol. VI. New York: Charles Scribner's Sons,
1935.

 

 

Temperley, Harold. Research and Modern History. London: Mac-
millan 8: Co. , 1930.

 

156

Thorndike, Ashley Horace. Literature in a Changing Age. New York: .
The Macmillan Co. , 1920.

 

Van Horn, Rollin Weber. Dress Throughout the Ages. Philadelphia:
Van Horn 8: Son, Inc.

 

Vincent, John Martin. Historical Research. New York: Henry Holt
8: Co. , 1911.

 

Aids to Historical Research. New York: D Appleton-Century
Co. , 1934.

 

Walker, Stanley. The Night Club Era. New York: Blue Ribbon Books,
Inc., 1933.

 

Webb, Wilfred Mark. The Heritage of Dress. London: Times Book
Club, 1912.

 

Webster's New World Dictionary. New York: The World Publishing
Co. , 1954.

 

-Wilcox, R. Turner. The Mode in Costume. New York: Charles
Scribner's Sons, 1942.

 

Women's Wear Daily. Fifty Years of Fashion. New York: Fairchild
Publications, 1950.

 

Wright, Quincy. A Study of War. Chicago: The University of Chicago
Press, 1942.

 

Yale, Jonathan. The Follett Picture: Story of the Clothes We Wear.
Chicago: Follett Publishing Co. , 1936.

 

Young, Mrs. Agnes Brooks. Recurring Cycles of Fashion. New York:
Harper 8: Brothers, 1937.

 

Articles, Periodicals and Magazines

 

Allen, Frances Anne. "Fig Leaves, " American Mercury, Vol. XIII,
No. 49 (January, 1928), pp. 59-66.

 

Arlen, Michael. "The Green Hat, " Harper's Bazaar, Vol. LIX, No.
9 (September, 1925), pp. 55+.

 

 

157

Austin, Mary. "Women's Clubs Today and Tomorrow, " Ladies Home
Journal, No. 38 (June, 1921), pp. 27+.

 

Barr, Estelle De Young. "A Psychological Analysis of Fashion
Motivation, " Archives of Psychology, No. 171 (June, 1934),
pp. 5-100.

 

Belmont, Mrs. O. H. P. "Women as Dictators," Ladies Home
Journal, No. 39 (September, 1922), pp. 7, 44.

 

Bogardus, Emory S. "The Groupistic Error, " Sociology and Social
Research, Vol. 33 (January-February, 1949), pp. 218-24.

 

"The Catholic Crusade for Modesty, " Literary Digest, Vol. 82 (1924)
pp. 25-26.

 

Catt, Carrie Chapman. "Too Many Rights, " Ladies Home Journal,
No. 39 (November, 1922), pp. 31, 168.

 

Craig, Hazel T. "Historic Costume Charts," Practical Home
Economics, reprint, 1948.

 

 

Crawford, Morris de Camp. "Fashion Significances; The 1920's:
The Fashions and the Art Inspiration, " Women's Wear Daily,
April 1, 1949, p. 3.

 

Currie, Barton W. "To Save Prohibition--It's Your Job, " Ladies
Home Journal, No. 38 (January, 1921), p. 28.

 

"When Women Earn Money, " Ladies Home Journal, No. 38
(July, 1921), p. 20.

 

"Soft Morals, " Ladies Home Journal, No. 40 (March, 1923),
pp. 32, 154.

 

Dix, Dorothy. "The Girl of Today, " Good Housekeeping, No. 62
(March, 1916), pp. 288-291.

 

George,- W. L. "Is There a Change in Morals 17", Good Housekeeping,
No. 76 (February, 1923), pp. 78, 145-47.

 

Harper's Bazaar. Copyright by Hearst Corporation, New York:
Volumes: LV, No. 4, 5, 11 (1920);LVI, No. 4, 5, 10, 11(1921);
LVIX, No. 4, 5, 10, 11(1924);LVX, No. 4, 5, 10, 11 (1925);
LX, No. 4, 5, 10, 11 (1926); LXII, No. 2586, 2592 (1928);
LXIII, No. 2, 5, 10, 11 (1929).

 

158

Hutchinson, W. "Health and Sport Suits, " Saturday Evening Post,
No. 198 (August 1, 1925), pp. 20-21, 137-38.

 

"Is the Younger Generation in Peril ?", The Literary Digest, Vol.
69, No. 7 (May 14, 1921), pp. 27-28, 52-61.

 

Jacobson, Wilhelmina E. "Human Motives Underlying Fashion
Changes, " Practical Home Economics, Vol. 14 (August,
1936), pp. 230-31.

 

Kennedy, H. A. S. "Short Skirts," The Forum, Vol. 75 (January-
June, 1926), pp. 829-36.

 

Loos, Anita, "Gentlemen Always Prefer Blondes, " Harper's Bazaar,
Vol. LIX, No. 3 (March, 1925), pp. 78, 79+.

 

"Fate Keeps on Happening, " Harper's Bazaar, Vol. LIX,
No. 4(April, 1925), pp. 106, 160.

 

"London Is Really Nothing, " Harper's Bazaar, Vol. LIX,
No. 5 (May, 1925), pp. 76, 77+.

 

Park, Maud Wood. "Why Is the League of Women Voters 7", Good
Housekeeping, No. 76 (March, 1923), pp. 205-07. .

 

"The Pope's Appeal to Men To Reform Women's Dress, " The Literary
Digest, Vol. 92, No. 5 (January 29, 1927), pp. 27-28, 57-59.

 

Post, Emily. ”How To Behave though a Debutante: “A Flapper's
Own Book of Etiquette, " Harper's Bazaar, No. 2586, Part I
(April, 1928), pp. 106, 107+; No. 2587, Part 11 (May, 1928),
pp. 74, 75+; No 2588, Part III (June, 1928), pp. 100, 101+;
No. 2589, Part IV (July, 1928), pp. 98, 101, 102.

 

"The Religious Press on Youthful Morals, " The Literary Digest, .
Vol. 69, No. 8 (May 21, 1921), pp. 27-28,, 52-60.

 

Richards, Agnes Gertrude. "The Spirit of the Times Reflected in
Costume Art, " Fine Arts Journal, Vol. 35 (1917), pp. 312-15.

 

Rucker, Kathryn. "Costume as an Expression of Ideals, " Lotus
Magazine, Vol. II, No. 1 (January, 1920), pp. 457—60.

Russell, Francis E, "A Brief Survey of the American Dress Reform
Movements of the Past, with Views of Representative Women, "
The Arena, Vol. 6 (1892), pp. 325-39.

 

 

“we >'.
_

159

"Freedom in Dress for Women. " The Arena, Vol. 8 (1893),
pp. 70-77.

_—

 

Sears Roebuck 8: CompanLCatalogs. Copyright by Sears Roebuck
8: Company, Chicago, Illinois. Volumes 140, 141 (1920; 142,143
(1921); 148, 149 (1924); 150, 151(1925); 152, 153 (1926); 156,
157(1928);158, 159 (1929).

 

Tilden, Freeman. "Flapperdames and Flapperoosters, " Ladies Home
Journal, No. 40 (May, 1923), pp. 16-17+.

 

Ziegfeld Jr. , Florenz. "Beauty, the Fashions and the Follies, "
Ladies Home Journal, No. 40 (March, 1923), pp. 16-17+.

 

Unpublished Material

 

Brockway, Doris Jane. “The Social, Political, and Historical In- .
fluences Reflected in Twentieth Century Costume. " Unpublished
Master's thesis, University of Washington, 1939.

Elliot, Annie Isabelle. "Style Cycles in Women's Undergarments. "
Unpublished Master's thesis, Department of Home Economics
and Household Administration, The University of Chicago, 1927.

Logue, Sr. Anne Marie. » ”Influence of War on American Costume;
Changes Resulting from Military Conflicts in which the United
States Was a Belligerent. " Unpublished Master's thesis, School
of Home Economics, The Drexel Institute of Technology, 1946.

Mayo, Annette Laverne. "A Study of Fashion in Women's Clothing
from 1910 to 1948. " Unpublished Master's thesis, Department
of Home Economics, State University of Iowa, 1948.

Murray, Maria Calabrese. "The Development of French and American
Designers Affecting Costume of American Women of the Twentieth
Century. " Unpublished Master's thesis, College of Home
Economics, Syracuse University, 1949.

Trentholm, Portia Yvonne. "Women's Undergarments in the Twentieth
Century, " Unpublished Master's thesis, College of Home
Economics, Michigan State College, 1953.

 

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