The 1920s was the era of Prohibition, bootleggers, gangsters, flappers, Chanel, and all that jazz. The period followed the commencement World State of war, when the nation experienced sustained economic prosperity. Every bit a consequence, decadence permeated throughout the decade. The kind of opulence and excess promoted, withal, was unlike the overwrought motifs of years prior. Assuming, geometric, and sparkly were preferred, thus ushering in the Art Deco style.
Women, past some mensurate, were also able to escape the confines of home life in the '20s. They entered the workforce, forged careers, and used their incomes to dance at clubs and buy garments that allowed them to motility freely. Seeing this change in the status quo were the leading fashion designers of the solar day. In their ateliers, couturiers similar Coco Chanel, Paul Poiret, Jean Patou, and Jeanne Lanvin created looks that took elements from menswear, refining the silhouettes of frocks, while likewise calculation much razzle-dazzle.
All these changes are immortalized in novels similar The Smashing Gatsby , shows like the Ziegfeld Follies, films like Metropolis , and a slew of way photography that continues to inspire designers today. Ahead, we highlight our favorite pics and the trends that characterized all the glitz and glam of the Roaring Twenties.
Of the many fashion trends that came out of the 1920s, it is the flapper dress that continues to reign supreme. The style, named after the women who wore it, is characterized by a direct and loose silhouette with a driblet waist that falls correct beneath the knee joint. It was popularized by designers Coco Chanel and Paul Poiret, both of whom sought to bring a masculine sensibility to womenswear. To wit: The flapper is also known as la garçonne, or "boy" in French.
For daywear, the flapper ofttimes featured sleeves and a pleated or tiered brim made out of cotton jersey. In the evening, the clothes was covered with rhinestones, layers of fringe, or rich embroideries with Art Deco patterns. Poiret'southward designs are a swell case of the latter, while Chanel'south collections typified the former. Either way, the silhouette enabled women to move freely and shimmy on the dance floor, instantly attracting the starlets of the era.
"Joan Crawford is doubtless the all-time example of the flapper, the daughter you come across at smart night clubs, gowned to the apex of sophistication, toying iced glasses with a remote, faintly biting expression, dancing deliciously, laughing a great bargain, with wide, hurt eyes," wrote novelist F. Scott Fitzgerald. "Young things with a talent for living."
Smocked Satin Halterneck Dress
Victoria, Victoria Beckham
Dewdrop-Embellished Mini Dress
Palm Gold Fringed Silk Crepe de Chine Dress
With the loose-fitting silhouette and short hemlines of the flapper dress, women needed undergarments to match. Gone were the constrictive corsets, excessive petticoats, and long bloomers. "The men won't trip the light fantastic toe with you if y'all vesture a corset," said a collective of flappers to The New York Times in a 1920 report. Something no-fuss was preferred, and that is what the chemise provided.
The undergarment consisted of an unfitted brusk slip, often made out of satin or silk crepe de chine, that was piece of cake to, well, slip on. It'south shape, however, was the only thing simple most it. A chemise in the 1920s featured Chantilly lace, tulle overlays, picot edging, floral embroideries, and ribbons. The style piled on all the frail and fancy trimmings that we now expect of the best lingerie.
Lace-Trimmed Silk-Satin Short Slip Dress
Though named afterwards James Thomas Brudenell, the seventh Earl of Cardigan, the mod-twenty-four hours cardigan owes its prominence to the pioneering efforts of Coco Chanel. The designer was taken by the simplicity of the knitted waistcoat that aloof men wore, seeking to bring that sense of ease to the women she dressed.
According to legend, Chanel cut an former sweater herself and sewed a ribbon to the neckband. She was simultaneously promoting sportswear and the flapper dress, and her prototype followed the same relaxed vibe. Her mission was to focus on styles that allowed her clients to motility without restrictions, eschewing all the cumbersome excesses that characterized women's way prior. Every bit French critic Lucien François wrote, "When Mademoiselle Chanel gets to heaven, she will surely impose her cardigans and little jersey shifts on the Princesse de Clèves and Marie Antoinette."
It was a wrap for coats in the 1920s—literally. The choice topper for women in the Jazz Age enveloped the torso in crushed velvet or sumptuous sable, civet, or mink furs, interim like a cocoon (hence the name). Paul Poiret, in detail, showcased pieces that actually brought the drama. The designer may have spearheaded streamlined dresses, just his coats were all about volume and featured pronounced pelts on the collars, hems, and sleeves.
The size and material of these toppers are perhaps direct results of what was underneath. If the dresses were short and made of lightweight fabrics, the coats needed to exist heavy duty and then every bit to withstand the biting cold come winter. But in the era of razzle-dazzle, utility just didn't cut information technology. Outfits needed to make a argument, and cocoon coats packed the oestrus in more than means than one.
Jimy Caramel Shearling Glaze
Reversible Shearling Coat
Pearls accept long been associated with royalty and the nobility. Indeed, it was only the extremely rich that could afford strands made with the rare and precious gems. But in the 1920s, jewelers were able to re-create pearls artificially, allowing the masses to imbue a sense of regality without breaking the bank.
"The identify of jewelry changed because women's lives radically changed," Evelyne Possémé, chief curator of the Fine art Deco and jewelry section at the Musée des Arts Décoratifs in Paris, told The New York Times in 2012. "Precious jewelry was no longer suited for a life where women could drive, smoke, shop alone."
Jeweler Augustine Gripoix, for i, was able to fashion pearl replicas out of glass. She opened her store in the late 1800s and swiftly started receiving orders from socialites and actress Sarah Bernhardt. Past the '20s, her daughter took control of the make and began collaborating with leading fashion designers, including Jeanne Lanvin, Paul Poiret, and Coco Chanel.
Long Pearl-Strand Necklace
Akoya Pearl Station Necklace
Ombre Tahitian and White Akoya Pearl Necklace
The flapper wasn't the just dress to make its mark in the 1920s and across. In the early part of the decade, Jeanne Lanvin introduced the robe de way, a frock that, like the flapper, featured a drop waist and chemise-style top, but had a full, ankle-grazing brim instead. Her pattern became so popular that others maisons followed suit.
"Until this last season, robes de way were synonomous with the name Jeanne Lanvin," read a report published by The New York Times in 1927. "As no other Paris designer attempted this type of gown with its full skirt and fitted waist, this courageous dressmaker built up an enviable clientele on this gown lonely with the result that now practically every member of the Paris couture is showing robes de style."
Pre-Owned Sleeveless Tulle Gown
Desi Crystal-Embellished Tulle Dress
Tiered Gathered Leather Maxi Dress
At the 1925 World'due south Fair in Paris, the "International Exhibition of Modern Decorative and Industrial Arts" made its debut at the M Palais, ushering in the Art Deco manner. Influenced past the geometric forms and bold colors found in disparate societies across fourth dimension—from ancient Arab republic of egypt and China to the Vienna Secession and Bauhaus school in Federal republic of germany—the motif became the pinnacle of mod design in the decade. And talents in the worlds of fine art, compages, production design, and style spread that message far and wide.
Leading the style on the jewelry front were brothers Louis, Pierre, and Jacques Cartier; Alfred Van Cleef and his father-in-law, Salomon Arpels; and Georges Mauboussin. These joailliers presented clusters of diamonds and bright precious stones on angular gold or platinum settings, garnering legions of fans along the way. I jewelry devotee of annotation was extra Gloria Swanson, who collected a number of pieces from these jewelry houses.
Panthère de Cartier Earrings
Louis Vuitton Pure V Collection
Hairstyles in the 1920s, much like the fashion, followed a boyish artful. Long locks were cut brusk and replaced with bobs, while fanciful bonnets were eschewed for a style that was in line with the trend of the decade. Enter the cloche hat, a bell-shaped lid that fitted the scalp to T.
Milliners similar Caroline Reboux, Lucie Hamar, and Gage Brothers & Company often made cloche hats out of felt, sometimes straw, and designed them to autumn right above the eye. They also worked with couturiers to create complements to their flapper dresses and sportswear frocks. And because it was the age of glitz and glam, women would often add sparkly brooches to complete their looks.
Originally intended for children, the "bar" was a closed-toe leather shoe with a low-cut quarter and i strap across the instep. By the 1920s, it adopted the proper noun Mary Jane—forth with a higher heel and a few more than straps—and became the preferred footwear for flappers.
The style, which came in dissimilar colors and featured a range of fasteners, served as a flirty and practical accessory for a number of occasions. A silver selection with a rhinestone buckle, for example, was smashing for dancing the Charleston or Texas Tommy at a speakeasy or jazz club, while a solid black version with an unassuming button was platonic for running effectually town throughout the mean solar day.
Attractive Crystal & Chain Embellished Bow Pump
Patent-Leather Mary Jane Pump
Tennis, anyone? In the 1920s, the response past women in high gild would have been a resounding yeah. It was the most popular sport of the day, making household names out of athletes like Suzanne Lenglen. The white sleeveless vests and knee-grazing pleated skirts that she wore on and off the court inspired the masses to follow suit.
Lenglen's outfits were designed by Jean Patou. Indeed, the French couturier is widely credited for designing the starting time tennis brim, forth with knitted swimwear and, controversially, the cardigan (run across above). He ushered in sportswear into everyday mode, and, according to a report in The New York Times, was "the first designer to put his initials on wear."
Dri-FIT Advantage Tennis Apparel
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