1920s Day Dresses
Pretty in Pink, Paisleys & Pastels
Or in this case — Sunshine Yellow!
Copyright LKP
FLIRTY & FUN
This 1920s Day Dress — Captures all the Specific Detailing of the Day — Loose-fitting Shift Style - Drop-waist Circle Skirt - Wide-cut V-necked Bodice - Capped Sleeves - Geometric Cotton Print Fabric.
The details make this dress easy to slip over the head and hug loosely across the hips or be pulled in slightly with a low-slung fabric belt (not pictured). Its geometric print shows the Art Deco influence.
1920s Day Dress
FREEDOM
Was the Word
In everything -- Freedom of Form, Fashion & Function.
The Form
Went from body shaping with corsets and petticoats.
To no form at all over silk camisoles, petite pants, slips and camiknickers.
The Fashion
Went from structured garments to loose-fitting shifts.
All in all, they were looser, shorter and freer.
The Function
Was all about the movement.
Long and tight gave way to short and loose.
Blue Print Day Dress
Here’s another good example of a loose-fitting, free-flowing 1920s Day Dress. This one I picked up recently at a local antique store. It was found packed away in a trunk. Imagine! 100-years-old. In perfect condition.
Day Dress
The SILHOUETTE
Was the Long, Lean, no Boobs, no Hips Boyish Look.
You thought it started in the ‘60s with Twiggy, didn’t you? Well, not so. The gals of the ‘20s were way ahead of us, rebelling against the corsets of the decade before, just as we did later, rebel against the girdle. Even the adornments enhanced the illusion — like wearing plumed headdresses and high tiaras to elongate the neck and flowing handkerchief hems and pointy-toed shoes to lengthen the leg. You even had artists of the day, like Erte, who further elongated the form in his illustrations, and Coco Chanel, who in coming up with her Little Black Knit Dress made the shape even for slinky and tubular. Now, there’s a couple of designers who’ve stood the test of time, both through their creations and lasting legacies. (INSERT BLACK DRESSES)
The CHALLENGE
How did it work for the average gal?
Well, we don’t really know, do we? We can see from old photographs that the style was embraced, wholeheartedly. But we can also see in pictures that “the look” worked better for some than others. Great for the tall and slim, not so much for the short and stout, some even look a bit dumpy. Still, one could imagine that most could create the look in whatever manner they chose because of the craftiness of the home-sewers and tailored fits. Still, it’s always a little dubious, to me, when the designers of the day decide the bosom is out of fashion. I mean, really? Does it ever? Go out? I mean. I have my doubts.
HOUSE DRESS VS DAY DRESS
There was a Distinction.
Day Dress for Stepping Out — House Dresses for Staying In
House Dress
House Dresses were lightweight, easy to wear and made out of “cheerful” fabrics, like plaids, checks, ginghams, polka dots and the latest Art Deco and Egyptian geometrical prints.
Day Dress
Day Dresses were fancier made of crepe, rayon, silk, taffeta or velvet. And, solids, not prints, for daytime parties in rich colors. Mauve, purple, blue, sage green and burnt orange for Fall and for Summer, sunset orange, maize, French (powder) blue and Nile green, a color described as similar to jade, (Vintagedancer.com) which was named, I imagine, because of the Egyptian influence. Then, of course, black and white were in fashion for fall and summer, respectively, a trend that continued through the 1970s and beyond. All were then adorned with any manner of trim, like ribbons, rickrack, buttons and beads. The richer the fabrics and more elaborate the decoration, the better, for those wanting to raise their status quo to charming socialite.
Trims
Now, let’s talk about trims. Yes, let’s. Remember, movement was the “In” thing. So, anything that moved or brought attention to movement, like fringe and rhinestones was added; the fringe, for swishing and swaying and the rhinestones for catching the light. The embellishments were intricate, as represented in one of my pieces in the exhibit. My Robe de Style dress features prong-set rhinestones over inlaid lace which creates a meandering path of flowers through the solid coral crepe fabric. (INSERT DETAIL)
Designers, it seems, were always coming up with ways to enhance the elongated shape, even when adding all the trimmings, by sewing the ribbons, buttons and bows in a vertical line. Or, they might add these embellishments to the points of already elongated collars or handkerchief hems. And, let’s not forget the embroidery that could be seen on cuffs, collars and skirt hems, all as a way of creating interest on what might otherwise be perceived as a simple dress, because of its lines. (PIPING DETAIL) Each and every little detail was designed to enhance that “look” of the elongated body.
NECKLINES, SLEEVES, BELTS, TIES
Even the necklines, sleeves, belts and ties figured into the elongated, streamlined look. They had to, especially the sleeves and necklines. Otherwise, they couldn’t be slipped over the head.
Necklines
The Bateau or boatneck emerged as the favorite because of its ease of form and function. Its wide opening was elegant, yet slipped easily over the head not requiring any buttons or hooks.The ease of dress fell in line with everything else about the easy-going and effortless ‘20s. Other necklines that fit the bill were deep V-necks, many times with an inset lace flap for modesty and sometimes squared sailor collar flaps in back, a design borrowed from men’s sailing uniforms. Also borrowed from the men’s line were shawl collars, supposedly influenced by the fisherman’s knit sweater. While the wide boat neck quickly faded from the early 1920s in favor of medium size round or pointed Chelsea collars (peter pan collars), the sailor bow tie remained fashionable for the entire decade.
The later 1920s didn’t see a change in collar shapes, but rather in size. Deep V-necks shrunk up to narrow V’s, large round collars reduced to small Peter Pan collars, pointed collars became daintier, and even boat necks gathered in so that a single button at the back was necessary to pull over and fasten on.
All necklines were modest. If a deep V was used, another piece of fabric backed the opening to create a square neck instead. Collars framed the shoulders and face but never called attention to any sort of bosom (Women had breasts? Not in the ’20s!).
Sleeves
The other defining characteristic of day dresses was the shape of the sleeves. Except for evening wear, most day dresses were long-sleeved. Fitted sleeves had little extra room in the shoulder or arm and fit straight down to either a full length with a wrist cuff.
Short sleeves were reserved for summer and only for women with pretty arms. Short sleeves could mean just above the elbow or an almost sleeveless cap sleeve. Sleeveless day dresses were taboo unless a matching silk or sheer jacket was worn over it.
Another common and unique long sleeve was the bell shape. They gradually went from fitted at the shoulder down to triangle or bell shape at elbow or forearm. Bell sleeves were quite open and comfortable compared to the fitted sleeves, although the longer lengths had a tendency to hang off the arm and into food while out for tea with friends.
The third most common long day sleeve was called the bishop. It had small gathers at the shoulders for more ease and then ballooned down the arm and gathered again at the wrist with a thin cuff. It was a perfect balance between a sleeve that allowed freedom of movement and modest covering. It remained very common for at least the next two decades and can still be seen in clothing today.
BELTS & TIES
A fabric tie belt, buckle belt, or sash in the same or contrasting color was worn low on the waist or around the hip for most of the 1920s. The thickness of the belt is something that is associated with the year. Wide sashes on the middle or low waist were the most common in the early ’20s while thin and low hip lines were common in the middle to late 1920s. While this was the general trend, it was really up to the woman to decide what thickness and at what waist location was the most flattering on her body. Many dresses lacked any sort of beltline. Instead, the dress fell freely from shoulder to hem create a tube or column shape.
CHOICES
That was the great part about fashions of the 1920s. Women had choices, and so many. And, that, was the great part about this new found freedom. They could choose whatever style they wanted. And, that, was a new and revolutionary concept.