1920s
By the 1920s the cut of women’s garments was at its simplest for many years. Waists were low, or ignored. Skirts were shorter, ending above the ankle at the beginning of the decade, below the knee in the mid-1920s and then lowering again at the end of the decade to between the calf and ankle. A boyish silhouette was adopted and the ‘flapper’ dresses of the ‘Jazz Age’, following the end of the First World War, introduced a simple straight silhouette with little or no attempt at shaping to fit the female body. Beaded chiffon dresses appeared for evening wear with the weight of the beading creating the fit and replacing the seams and darts normally giving shape to a garment. Rather than encasing the body, dresses hung from the shoulders, skimming the figure (see figures 3.91 and 3.92). The opening of Tutankhamun’s tomb in 1922 brought a strong Egyptian influence into garment style and decoration.
Underwear also took on a different role in the 1920s, flattening the female figure rather than enhancing its curves (see figure 3.94). The sole purpose of the corset was to flatten the body silhouette culminating in the all-enveloping corselette, encasing the body from the bust to the thighs for the more ‘mature’ women and shrinking to a girdle and brassiere for the young or aspirational.
Patterns for garments consisted of simple shapes, often only a front and back with minimal darts. Chiffon fabric was very popular and bias cut and draped inserts into the skirts of straight garments created elegant flowing styles (see figures 3.90 and 3.91).
Figure 3.88 Evening dress 1922. Fashion plate, Gazette du Bon Ton, 1922. Rijksmuseum, Amsterdam. Purchased with the support of the F.G. Waller-Fonds.
Figure 3.89 1920s studio photograph of Dorothy Davenport. Image courtesy of the Manley Family Archive.
Figure 3.90 Fashion at the Races in Auteuil, Paris, 1926. © Getty Images.
Figure 3.91 Silk chiffon day dress with matching scarf c.1928–29. © The Olive Matthews Collection, Chertsey Museum. Photo by John Chase Photography.
Figure 3.92 Silk georgette evening dress embroidered with glass beadwork c.1925–27. © The Olive Matthews Collection, Chertsey Museum. Photo by John Chase Photography
Figure 3.93 Slip-on bandeau in Clunylace, 1925. A simple garment to cover the bust above the corset. The front piece is gathered at either side giving a slight fullness over the bust. A clip attached by a narrow webbing tape in the centre of the bottom edge could be attached to a stud at the top of a corset to hold it in place. The Symington Collection © Leicestershire County Council Museums.
Figure 3.94 1920s consumer magazine advertising Twilfit corsets made in Portsmouth. F8 archive/Alamy Stock Photo Alamy
1930s
The Great Depression of the 1930s had a worldwide impact affecting the lifestyle choices of everyone. Fashion styling for garments was simpler with the introduction of less expensive man-made fabrics. However, for those who could afford it, garments could still be lavish, created from luxurious silks and satins.
For all levels of society, styles moved away from the androgynous look of the previous decade. Hemlines for daywear lengthened to around mid-calf and for evening wear fell to the ankle or the floor, sometimes extending into a short train at the back. The waist reappeared in its natural position, allowing the female silhouette to once again display its natural curves. Women’s fashion developed a relaxed elegance with bias cutting and soft draping enhancing the femininity of garments (see figure 3.96). The name of French couturiere, Madeleine Vionnet, is synonymous with bias cutting. Using soft crêpe fabrics to drape the body she became its chief exponent, creating elegant, sensuous and feminine garments. Evening wear was designed to show a soft flowing silhouette. Net fabrics embroidered with sequins enhanced the sensuous look of evening wear (see figure 3.100).
Dresses with skirts cut on the straight grain could also be given extra movement at the hem by curving out the seams to add additional width or by inserting triangular pieces of fabric known as godets into the seams at the hem. New inexpensive viscose fabrics known as ‘art silk’ were developed, making the figure-skimming styles easier and less expensive to produce for the general population.
Figure 3.95 Magazine, Art – Goût – Beauté, Feuillets de l’élégance féminine, Mars 1932, No. 139, 12e Année, p. 20. © Rijksmuseum, Amsterdam. Purchased with the support of the F.G. Waller-Fonds.
Figure 3.96 Coral pink synthetic crêpe day dress with lace cowl c.1930–35. © The Olive Matthews Collection, Chertsey Museum. Photo by John Chase Photography
Even with bias cut garments it was always the position of the straight grain that influenced the style of dresses in the 1930s. Cowl necklines and draped bodices used the position of the straight grain (the warp of fabrics) to control how the garment fitted around the body. By tensioning the straight grain on bias draped cloth against the torso it was possible to create a softly fitting bodice with minimal darts, while retaining a loosely draped neckline (see figure 3.96).
Underwear was generally lighter and more flexible, giving soft control to the body. This was greatly facilitated by ‘the Dunlop Rubber Company’s development of elastic thread in c.1930’.11 Cami-knickers, a cross between petticoat and knickers, were worn to give a smooth line from the bust to hips under the softly draped dresses.
Trousers became an important fashion statement for women; closely fitting around the waist and hips, with loose legs and wide hems. Wide-legged ‘Palazzo’ pants were popular. As was a style with a front flap opening closed with buttons giving the trousers a nautical air.
Figure 3.97 Symington, ‘Kestos’ style bra from the Avro range 1936. The Symington Collection © Leicestershire Country Council Museums.
Figure 3.98 Symington ‘Avro’ backlacing corset 1933. The Symington Collection © Leicestershire County Council Museums.
Figure 3.99 Green rayon cami-knickers/ combinations with ecru lace trim c.1931– 37. © The Olive Matthews Collection, Chertsey Museum. Photo by John Chase Photography.
Figure 3.100 Evening gown of net with applied sequins c.1934–36.The sequins are couched to a net base creating a fluid figurehugging shape. © The Olive Matthews Collection, Chertsey Museum. Photo by John Chase Photography