After World War I, America entered a prosperous era and, as a result of its role in the
war, came out onto the world stage. Social customs and morals were relaxed in the optimism brought on by the end of the war
and the booming of the stock market. Soldiers were returning home from serving or attending a military university to be with their families or find jobs and Women started entering the workforce in record numbers during the time. The nationwide prohibition on alcohol was ignored by many. There was a revolution
in almost every sphere of human activity, and fashion was no exception.
Clothing changed with women's changing
roles in modern society, particularly with the idea of new fashion. Although society matrons of a certain age continued to wear conservative dresses,
forward-looking and younger women now made sportswear into the greatest change in postwar fashion. The tubular dresses of
the 'teens had evolved into a similar silhouette that now sported shorter skirts with pleats, gathers, or slits to allow
motion. Undergarments began to transform after World War I to conform to the ideals of a flatter chest and more boyish figure.
The corset was diminishing and the bandeau, flattening style was prevalent in the early 1920s. During the mid-twenties all-in-one
lingerie became popular, leaving behind the corset and moving into the curvier brassiere era of the 1930s.
The
women's rights movement had a strong effect on women's sexual fashions. Most importantly, the confining corset was
discarded, as undergarments changed to suit the new fashions in this decade. Instead of drawers and knickers, women now wore
panties, which were more comfortable. The chemise or camisole was employed in place of the corset. During the early part of
the decade, chemises paired with bloomers kept a woman covered beneath her outer garments. For the first time in centuries,
women's legs were seen with hemlines rising to the knee and dresses becoming more fitted. A more masculine look became
popular, including flattened breasts and hips, short hairstyles such as the bob cut, Eton Crop and the Marcel Wave. One of
the first women to wear trousers, cut her hair and reject the corset was Coco Chanel. Probably the most influential woman
in fashion of the 20th century, Coco Chanel did much to further the emancipation and freedom of women's fashion.
 The straight-line chemise topped by the close-fitting cloche hat became the uniform of
the day. Women “bobbed,” or cut, their hair short to fit under the popular hats, a radical move in the beginning,
but standard by the end of the decade. Low-waisted dresses with fullness at the hemline allowed women to kick up their heels
literally in new dances like the Charleston.
Jean Patou, a new designer on the French scene, began making two-piece
sweater and skirt outfits in luxurious wool jersey and had an instant hit for his morning dresses and sports suits. American
women embraced the clothes of the designer as perfect for their increasingly active lifestyles.
By the end of the
Twenties, Elsa Schiaparelli stepped onto the stage to represent a younger generation. She combined the idea of classic design
from the Greeks and Romans (think “tunic”) with the modern imperative for freedom of movement. Schiaparelli wrote
that the ancient Greeks “gave to their goddesses ... the serenity of perfection and the fabulous appearance of freedom.”
Her own interpretation produced gowns of elegant simplicity. Departing from the chemise, her clothes returned to an awareness
of the body beneath the gown. In the world of art, fashion was being influenced heavily on art movements such as surrealism.
After World War I, popular art saw a slow transition from the lush, curvilinear abstractions of art nouveau decoration to
the more mechanized, smooth, and geometric forms of art deco. Elsa Schiaparelli is one key Italian designer of this decade
who was heavily influenced by the “beyond the real” art and incorporated it into her designs.
During
the Twenties, Tirocchi clients asked for designs by known designers rather than work with Madame Tirocchi directly to create
gowns for them. Most of these dresses were copies produced by New York fashion houses like Harry Angelo and Maginnis &
Thomas, although some came from the New York City department stores B. Altman and Lord and Taylor.
Some Tirocchi
clients purchased designs by old favorites from the 'Teens, like Agnes, Callot Soeurs, Jeanne Lanvin, Poiret, and others.
However, they bought a lot from the new designers Chanel and Patou (who was the special favorite of the young set).
During
the first half of the century the bonnet dominated women’s fashion, becoming very large with many ribbons, flowers,
feathers, and gauze trims giving an appearance of even greater size. By the end of the century, although bonnets were stili
prevalent, many other styles were to be found, including wide brims with fiat crowns, the flower pot and the toque feathers
and veils abandoned. Although early in the 1900's most hats were
enormous and adorned with flowers, feathers, ribbon and tulle.... by the mid 1920's women’s hair had become much
shorter with the shingle cut and the cloche, which hugged the head like a helmet with a very small brim, had come into fashion.
Now, after WW l, there was suddenly such a proliferation of styles and materials that many women had to rely on the advice
of milliners. From the 1930’s to the 1950's it could
be said that New York, with its many European immigrants had become the world’s leading millinery city, with department
stores such as Sacs Fifth Avenue, Henri Bendel and Bergdorf Goodman leading the way with their own millinery workrooms. During the 1930's and 40’s the tendency was for hats to have higher crowns
with smaller brims and once it was War-Time again, it was mainly the trims which were changed with women making do with turbans
made from pre-war materials. By the 1950’s the arrival of clothes
was robbing the milliners of their crucial part in the world of fashion. Equally during the War many women, who had not previously
worked, found themselves employed and were then ioathed to lose there new-found freedom and independence. This new situation
meant, however, that they no longer had so much time or energy to spend on being fashionable. Ln the 1960's, the hat was once again taken over by wigs and hairdressers, who colored, backcombed and sprayed
women ’s hair into exotic ‘sculptures ’_ Both men and women also realized that they could dress less formally
and the hat was inevitably a temporary casualty. However, in the 1980’s and 90’s there has been a revival of interest
in women’s millinery. This was instigated, to a large extent,
by public: figures such as the late Princess of WaIes’s enthusiasm for wearing in the 1960’s, the hat was once
again taken over by wigs and hairdressers, who hats. Many new hat designers have emerged because of this, and therefore has
made the 90's a very innovative and diverse period for hats. Since
their invention, hats have come and gone as status symbols, uniforms and fashion statements as weil as being functional sports
and protective headgear. There are still, and presumably always will
be, twc basic styles-brimmed and brimless...and two basic forms-caps and hats. Milliners take these shapes and with the aid
of many trims and details, create a never-ending range of hats formen and women.  Schiaparelli had been presenting thematic collections
at her salon, theatrically staged with dramatic lighting, backdrops and music. A fashion editor who regularly attended these
events recalls that the front rows were filled with royalty, politicians, artists, film stars who pushed towards the models
“as if it were rush hour.” This sparkling and boldly decorated evening jacket is part of Schiaparelli’s
Zodiac collection from Winter 1938/39 which was one of her most imaginative collections. Clothing in this collection was decorated
with the stars, the moon and the sun and horoscopes were printed on coats and jackets that foretold the future. The proportions
of the clothing were built upon the strictest measurements based on Euclid’s elements, a treatise on geometry. As a
young child, Elsa’s Uncle Giovanni had pointed out that the beauty marks on his niece’s face formed the shape
of the Big Dipper so she adopted the constellation as her good luck charm. This elaborate jacket is decorated with the signs
of the zodiac and the planets, woven with gold and silver embroidery. chiaparelli’s symbol, the big dipper, is on the
left shoulder. It would have been worn over a simple gown forming an “evening suit.” The Evening Suit, which was
popularized by Schiaparelli, became a standard among fashionably dressed women..
In the 1920’s, the sweater was an important piece
of clothing for a new type of “modern” woman who would rather play a game of tennis than sit still in a parlor.
But sweaters of the time tended to lose their shape quickly which resulted in a sloppy appearance. In the Spring of 1927,
Elsa Schiaparelli noticed a woman in Paris wearing a plain but unusually woven sweater, which didn’t seem to stretch
and had what Schiaparelli later described as a “steady look.” Schiaparelli discovered that the sweater had been
knitted by an Armenian woman using a special double layered stich. Elsa soon recruited the young
woman to knit several prototypes for her. Schiaparelli drew a white
bow to look like a scarf tied around the neck of a sweater on a black background and had the design knitted into the sweaters.
The sweater had its public debut when Elsa wore it to a luncheon that included several leaders of the fashion world. The sweater
caused a sensation. A buyer from Lord and Taylor ordered 40 copies on the spot. Although her first collection launched the
previous year had been well-received, it was the bow knot sweater which secured her fame.
For centuries, men had worn a similar
outfit, with few if any changes to it. In the 1920s, we see an introduction to sports wear, or wearing what the sports icons
wore. We also see the younger generation rebelling against tradition and creating a new style that was better suited for comfort.
Fabrics were lighter, and colours more varied than they had been in years, reflecting the changing cultural attitude of the
people.
The young men wore baggy
plus fours and wide legged trousers. The plus fours were another way the sports industry affected fashion, as this look was
first introduced by famous golfers. Golfers also began a trend with the infamous Fair Isle sweater, which quickly caught on
among men throughout society. Tennis also impacted fashion, as it grew more popular. The white trousers and v-neck sweaters
were popular for a night out on the town.
 In centuries past, menswear had been extremely
formal, to the point of upper-class men in Edwardian times having to change their clothing several
times a day to meet proprieties needs. A suit and neck tie of some form was essentially
always worn, though in the 1920s the suit became much simpler. The suit jacket became slimmer
and unpadded, and worn over simple trousers.
The baggy trousers originated at Oxford University, due to a ban on knickerbockers; so they were called Oxford
bags. As a result, trousers in the 1920s grew continuously wider in the legs, leading to
the development of the front crease. This allowed for a sharper look, especially in silhouette.
Suspenders became a hold of the older generation as belts took over, their waist slimming
feature especially made them popular. Cuffs were added to trousers, giving them a more finished look.
With mens fashions changing so dramatically, it may seem
surprising to note that formal wear remained much the same for men as it had for centuries.
Granted, the frock coat was replaced by the tail coat, but that was basically the only
change. The jacket still had to be black, and men still had to wear a starched white shirt
and bow tie in the evenings, with black trousers and black shoes. Of course, we must not forget the hat!
For centuries past, and into the 1920s, no man who had any
style or manners went anywhere in public without a hat of some sort covering his head. In
the summer, light straw hats or shallow stiff-brimmed hats called boaters or skimmers could
be worn to meet that obligation, while in the winter, the felt fedora ruled the day. The
boaters and skimmers differed only in the width of their brim. The felt fedora is best known today as a
gangsters hat, but it was loved by most men because of its comfort.
In the 1920s, the rising economic times and rise of
the automobile meant that clothing designers took note. They began to create clothing to
be worn exclusively while driving, such as the flat English driving hat and vented leather
gloves. These were considered essential when taking your sweetheart for a drive.
Of course, other cultural icons, such as aviator
Charles Lindbergh, also impacted fashion. His leather coat became popular, and many men
liked to wear the scarf too. The jacket was considered a necessity, in fact, with no man of style wanting to be without
one.
The
fashion of the 20s was jazzy, with a pop and sizzle all its own. This would last until the stock market
crash of 1929, when money became too tight for fashion. Though it would take the fashion industry years
to listen and cater to the young again as much as they did in the 20s, there was no chance
of a return to the dress codes and expectations of centuries past. Youth had had its say,
and wouldn't go back. Stuffiness in dress was over; it was the dawn of a new age.
The 1920s womens shoes caused quite a debacle among
the society of the streets of those days because many pivotal and changing events took place leading up to the change of shoe
wear for women as well as the dress of women. It was the 1920s womens shoes that were first seen by others as women generally
dressed with their skirts right down to the ground and were often seen sweeping all around them as they walked. However, it
was due to this very unwanted dirt on the skirt bottoms that provoked the new style as well as the cause for introducing the
1920s womens shoes.
It happened just before the 1920s womens shoes became popular, famous and widely controversial
that the skirts of the women were raised just four inches from the floor. This change or desired change, grew panic and gasps
from the men and other women in the general society but because of the horse feces so commonly found, and walked through in
the streets in those days, the women felt it was not only wanted by other women but it was imperative for the cleanliness
of the skirt.
Well four inches up reveals quite a lot more than a full-length skirt that covered feet and legs
because now there was four inches of bare leg as well as exposing the feet. The 1920s womens shoes had to be reinvented because
there wasn't much significance put on womens shoes at that time, why would there be, they weren't seen except sitting
in the porch. Now it was essential that the 1920s womens shoes be emphasized due to this change in attire and the number and
types of shoes skyrocketed.
Soon it was introduced in the realm of the 1920s womens shoes the still famous and
often still worn shoe that was high heeled and had extremely pointy narrow toes. These were highly criticized because of the
terrible support and the very uncomfortable nature of shoes. The 1920s womens shoes had a full frontal attack released on
them trying to discourage the sales of these shoes because they were terrible for the health for the feet and it isn't
an old wives tale that tight shoes destroy character. They do and we know this today but in the era of the 1920s womens shoes,
they choose fashion as first and comfort as dead last.
Liberty is a long-established department
store on Regent Street in Central London, England, in the West End shopping district.
Since 1875, Liberty has been
synonymous with luxury and great design. Arthur Liberty’s intuitive vision and pioneering spirit led him to travel the
world looking for individual pieces to inspire and excite his discerning clientele. Liberty is not a name above the door,
it’s Arthur Liberty’s legacy, which stands for integrity, value, quality and above all beautifully designed product.
This vision and spirit continues today within the iconic Tudor building.
With a £2000
loan from his future father-in-law, Arthur Liberty took on the lease of half a shop at 218a Regent Street with only three
staff.
The shop opened in 1875 selling ornaments, fabric and objects d'art from Japan and the East. Within
eighteen months Arthur Liberty had repaid the loan and acquired the second half of 218 Regent Street. As the business grew,
neighbouring properties were bought and added
The first designer who was not merely a dressmaker was
Charles Frederick Worth (1826–1895). Before the former draper set up his maison couture fashion house in Paris, clothing
design and creation was handled by largely anonymous people, and high fashion descended from style worn at royal courts. Worth's
success was such that he was able to dictate to his customers what they should wear, instead of following their lead as earlier
dressmakers had done. The term couturier was in fact first created in order to describe him.
It was during this
period that many design houses began to hire artists to sketch or paint designs for garments. The images alone could be presented
to clients much more cheaply than by producing an actual sample garment in the workroom. If the client liked the design, they
ordered it and the resulting garment made money for the house. Thus, the tradition of designers sketching out garment designs
instead of presenting completed garments on models to customers began as an economy.
Throughout the early 20th
century, practically all high fashion originated in Paris, and to a lesser extent London. Fashion magazines from other countries
sent editors to the Paris fashion shows. Department stores sent buyers to the Paris shows, where they purchased garments to
copy (and openly stole the style lines and trim details of others). Both made-to-measure salons and ready-to-wear departments
featured the latest Paris trends, adapted to the stores' assumptions about the lifestyles and pocket books of their targeted
customers.
During the early twentieth century, changes in production methods, cheap immigrant labor, and other
structural changes made ready-made clothing more affordable. By the 1920s, a competitive and increasingly mechanized garment
industry offered a wide range of prices, and looser, less fitted styles fit well off the rack. Ready-to-wear blouses, skirts,
and dresses became increasingly popular and fewer women sewed. 
A survey of department stores
from 1911 to 1925 showed that until 1920, fabric sales kept pace with ready-made clothing, but after 1920, the ready-made
overtook fabric. One businessman surveyed in the Middletown study recalled that in 1890, a fabric sale would clear ten bolts
on the first day, whereas a similar sale in 1924 drew many fewer customers.
As with all the female fashion during the 1920s, the evening dress progressed to display more of the body. While
the skirts were still full length, the neckline in the speakeasy and the European nightclub became low-cut. Backless dresses
also remained popular throughout the twenties. An important part of the evening gown during the twenties was the beading.
The long straps of the backless dresses (if not the entire dress) featured beaded chiffon fabrics.
Womens wear In
the aftermath of World War I, America entered a prosperous era and, as a result of her role in the war, came out onto the
world stage. Social customs and morals were relaxed in the giddy optimism brought on by the end of the war and the booming
of the Stock Market. New music and new dances came on the scene. Women got the vote in 1920 and were entering the workforce
in record numbers. The nationwide prohibition on alcohol was ignored by many when it suited them. There was a revolution in
almost every sphere of human activity, and fashion was no exception. 
In menswear there
was a growing mood of informality, among the Americans especially, which was mirrored in fashions that emphasized youthfulness
and relaxation. In the past, there was a special outfit for every event in the well-dressed gentleman's day, but young
men in the Twenties, no longer afraid to show their youthfulness, began to wear the same soft wool suit all day long. Short
suit jackets replaced the old long jackets of the past which were now only worn for formal occasions. Men had a variety of
sport clothes available to them, including sweaters and short pants, commonly known as knickers. For evening wear a short
tuxedo was more fashionable than the tail-coat, which was now seen as somewhat old-fashioned. The London cut, with its slim
lines, loose-fitting sleeves, and padded shoulders, perfected by the English tailor Scholte, was very popular. 
The 1920s were
characterized by two distinct periods of fashion. The early 1920s were relatively conservative in nature and changed progressed
slowly as many were reluctant to adopt the new styles. From 1925, the styles that have been associated with the Roaring Twenties
were passionately embraced by the public and would continue characterize fashion until late in 1930. During the 20s,
women began to wear makeup. The main emphasis was the lips. Women wore bold and deep shades of lipstick. Some of the popular
shades included red and bright pink. They also wore other types of makeup, but the rest of the face was kept very natural-looking
for the most part.
The 1920s fashion that was sported by flappers was looked at by the conservatives as what
had gone wrong in the world. Interestingly enough, the styles that were worn during this time period are very similar to the
ones that are popular today. The bob hairstyle and nude appearance both are quite popular styles in fashion today.
Soon after the
First World War, a radical change came about in fashion. Bouffant coiffures gave way to short bobs, dresses with long trains
gave way to above-the-knee pinafores. Corsets were abandoned and women borrowed their clothes from the male wardrobe and chose
to dress like boys. Although, at first, many couturiers were reluctant to adopt the new androgynous style, they embraced them
wholeheartedly from around 1925. A bustless, waistless silhouette emerged and aggressive dressing-down was mitigated by feather
boas, embroidery, and showy accessories The [flapper] style (known to the French as the 'garçonne' look) became
very popular among young women. The [cloche] hat was widely-worn and sportswear became popular with both men and women during
the decade, with designers like Jean Patou and Coco Chanel popularizing the sporty and athletic look. 
The great couturière
Coco Chanel was a major figure in fashion at the time, as much for her magnetic personality as for her chic and progressive
designs. Chanel helped popularize the bob hairstyle, the little black dress, and the use of jersey knit for women's clothing
and also elevated the status of both costume and knitwear.
 Two other prominent
French designers of the 1920s were [Jeanne Lanvin] and [Jean Patou]. Jeanne Lanvin, who began her career in fashion as a milliner,
made such beautiful outfits for her young daughter Marguerite that people started to ask for copies, and Lanvin was soon making
dresses for their mothers. Lanvin's name appears in the fashion yearbook from about 1901 onwards. However, it was in the
1920s that she reached the peak of her popularity and success. The Lanvin style embraced the look of the time, with its skillful
use of complex trimmings, dazzling embroideries, and beaded decorations in light, clear, floral colors that eventually became
a Lanvin trademark. By 1925 Lanvin produced many different products, including sportswear, furs, lingerie, men's fashion,
and interior designs. Her global approach to fashion foreshadowed the schemes that all the large contemporary fashion houses
would later adopt in their efforts to diversify.
In the aftermath
of World War I, America entered a prosperous era and, as a result of her role in the war, came out onto the world stage. Social
customs and morals were relaxed in the giddy optimism brought on by the end of the war and the booming of the Stock Market.
New music and new dances came on the scene. Women got the vote in 1920 and were entering the workforce in record numbers.
The nationwide prohibition on alcohol was ignored by many when it suited them. There was a revolution in almost every sphere
of human activity, and fashion was no exception.
Clothing changed with womens changing roles in modern society,
particularly with the idea of freedom for women. Although society matrons of a certain age continued to wear conservative
dresses, forward-looking and younger women now made sportswear into the greatest change in post-war fashion. The tubular dresses
of the Teens had evolved into a similar silhouette that now sported shorter skirts with pleats, gathers, or slits to allow
motion to rule womens fashion for the first time in history.
The straight-line chemise topped by the close-fitting
cloche hat became the uniform of the day. Women "bobbed," or cut, their hair short to fit under the popular hats,
a radical move in the beginning, but standard by the end of the decade. Low-waisted dresses with fullness at the hemline allowed
women to kick up their heels literally in new dances like the Charleston.
In menswear there
were two distinct periods in the 1920s. Throughout the decade, men wore short suit jackets, the old long jackets (on morning
suits and tail-coats) being used merely for formal occasions. In the early twenties, men's fashion was characterized by
extremely high waisted jackets, often worn with belts. Lapels on suit jackets were not very wide as they tended to be buttoned
up high. (This style of jacket seems to have been greatly influenced by the uniforms worn by the military during the First
World War.) Trousers were relatively narrow and straight (never tapered) and they were worn rather short so that a men's
socks often showed. Trousers also began to be worn cuffed at the bottom at this time.
By 1925, wider trousers
commonly known as "Oxford Bags" came into fashion, while suit jackets returned to a normal waist and lapels became
wider and were often worn peaked. Loose fitting sleeves (without a taper) also began to be worn during this period. During
the late 1920s, double breasted vests, often worn with a single breasted jacket, also became quite fashionable. During the
1920s, men had a variety of sport clothes available to them, including sweaters and short trousers, commonly known as knickers.
For formal occasions in the daytime, a morning suit was usually worn. For evening wear men preferred the short tuxedo to the
tail-coat, which was now seen as rather old-fashioned and snobbish.
Men's fashions and outfits also underwent a huge
transformation in the Twenties. Previously most men had worn formal three piece suits. Now they were allowed far more casual
styles as "cheerio" and "jazzy" fashions became acceptable and fancy. Flannel trousers, tweed jackets
and brightly coloured Fair Isle slipovers were very popular, as were Plus Fours (baggy knicker bockers) and Oxford Bags (trousers
with very wide legs). In the summer, blazers and light coloured trousers were complemented with a panama hat or a boater with
fashion poor skill. By the late 1920s, pipe smoking and after shave were desirable european fashion male accessories.
Despite its popularity, the flapper lifestyle and look
could not survive the Wall Street Crash and the following Great Depression. The high-spirited attitude and hedonism simply
could not find a place amid the economic hardships of the 1930s. More specifically, this decade brought out a conservative
reaction and a religious revival which set out to eradicate the liberal lifestyles and fashions of the 1920s
 Clara Bow
Born: July 29, 1905 in Brooklyn, NY. Clara Bow was on only child. Her father
was an alcoholic and her mother was mentally unstable. She was able to escape her sordid life when she entered a 1921 fan
magazine contest and won. Her first big break came in 1921 when she landed a supporting role in "Down to the Sea in Ships"
(1923). The role required her to masquerade as a boy, and, although it was a drama, it gave her the opportunity to show her
talent for comedy, as well. The movie was a big hit, and Clara went on to appear in four more films before signing with B.P.
Schulberg. During 1924 and 1925, she appeared in 21 films, most of them forgettable and many of them on loanout to small independent
companies such as Banner, Gotham and Arrow. One of the best, though, was the Schulberg Produced (for his Preferred Pictures)
"The Plastic Age" (1925) about a college flapper who leads an innocent young athlete astray. She received her first
real critical notice, though, with "Dancing Mothers" in late 1925. The film starred Alice Joyce, and Bow was her
spoiled, jazz-age daughter. Bow's lively spirit and energy on the screen served as an excellent counterpoint to Joyce's
cultured demeanor and was perfect for the role. One of Bow's best roles of her career came in 1926. "Mantrap"
co-starred Ernest Torrence and Percy Marmont and cast Bow as a jazz-age city flapper who impetuously marries the backwoods
Torrence who takes her back to his remote town of Mantrap. The very handsome and dignified Marmont comes along, and Bow plots
to run away with him. The film had pathos, humor and drama, and, again, Bow was perfect for the role. Infamous British author
Elinor Glyn (who shocked Puritanical America with novels such as "Three Week") coined a term called "It"
which was supposed to describe someone who had all the qualities, sexual and otherwise, to be appealing to the opposite sex.  The 1920’s have been called the Lost Generation,
the Age of the Flapper, the Jazz Age, and the Roaring Twenties. All attempt to identify a common theme, and all fail. Not
everyone in the 1920’s was a lost intellectual, a thoroughly "Modern Milly," a jazz aficionado, or an exuberant
bon vivant. Of course, they were all present along with the unemployed, the disadvantaged coal miner, the struggling farmer,
the religious fundamentalist, the agnostic, the atheist.
Flapper costume takes you back to the
era of 1920s. It is said that gangster costumes and the flapper costumes ruled the fashion scene. Flappers made a bold fashion
statement with black back seamed stockings and garters. The term flapper was referred to bold young women in the 20s who were
dressed in short skirts with a bobbed hair. They spent time often listening to music especially the jazz. Though women had
boy cut or a bobbed hair, they wore large hats. As part of the Flapper Costume, pins, brooches, stockings, bracelets and rings
added more style. Even high heels became a vogue in the 1920s. Flapper outfits were generally straight and loose, which left
the arms bare. Later on, in the 30s, short skirts which revealed the knees, joined the list of Flapper costumes.
Flapper
costumes were available for the whole family which was available in a wide variety in different styles and colours for both
men and women. Flapper costumes were also available for children as well.
A Flapper costume was also complemented
with a heavy make-up. Usage of creams, powders, lipsticks and blush became common. However, Flapper
costumes went out of style in the late 1930s. Despite its popularity, the flapper costumes
went out of fashion. However, today the same style is being relived in Halloween and Theme
parties. Flapper Costumes are never complete without the right accessories. Feather boas, headpieces
and wigs complement the Flapper Costume. Designers in those times created flirty flapper outfits for women.
Young ladies wore flapper costumes with ease trying to mix and match various accessories.
In addition to boas and wigs, necklaces and hats added value to the whole costume. The good
thing about Flapper Costume is that it is available in plus sizes for overweight women.
Unlike other costumes, women who are fat can easily try out various colours and styles of Flapper costumes. In the late
70s and 80s Flapper shoes, Flapper bags, velvet gloves and bracelets in exotic designs and
colours joined the Flapper Costume accessories list. A Flapper costume with the right accessories
can take you back to the 20s at any theme party or a Halloween party. It surely makes you
stand out in the crowd. Couples generally combine Flapper Costumes and gangster costumes in theme
parties. Bringing back the old charm and fashion are a number of stores in America and England, which specializes
only in Flapper costumes. Even the modern day designers are weaving magic with their creations
by incorporating the styles of the 20s. A recent survey has also revealed that there had
been a majority of online bids and buys for Flapper costumes. Simple costumes are available
at as low as $50 in America. You can bid for even less through online. Flapper costumes have undergone
major changes in the hands of designers. Along with short cuts, a little longer robe which flapped as the
woman walked is very much in fashion these days. In contrast to white, cream, yellow and
black, Flapper costumes are available in all colour combinations.
By the end of the First World War, many changes in fashion
came about. Short bobs became in, as well as pinafores worn above the knee. Corsets were gone, and women suddenly dressed
like boys. The androgynous style soon became the in thing by 1925. Sportswear became hot trends among men and women, with
popular designers Jean Patou with Coco Chanel helping popularize the athletic look.
Chanel was one of the most
popular fashion movers of the era, as she was responsible for introducing chic and futuristic designs. She helped in making
popular the bob hairstyle, use of jersey knit among women, as well as use of the little black dress. She also made popular
the use of jewelry and knitwear among her clients.
Another popular French designer of the era was Jeanne Lanvin,
who was responsible for introducing intricate trimmings, as well as impressive embroideries and decorations. By the middle
of the decade she had manufactured an impressive line of products ranging from men’s wear, sportswear, and lingerie.
Still another renowned designer of the decade was Jean Patou. While hers was never mainstream, Patou’s style
was eccentric and original. She was known for her garments with clean lines, emphasized by luxury and practicality.
Men’s wear became emphasized youthfulness and relaxation. Formality was being forgotten, as men preferred to show
off their youthfulness. They wore short suit jackets, as well as short tuxedo, sweaters and short pants. Another trend was
the London cut, made popular by the English tailor Scholte.
The cloche hat is a fitted, bell-shaped hat that was
popular during the 1920s.(Cloche is the French word for bell.) Caroline Reboux is the creator of the cloche hat.
Cloche
hats were usually made of felt so that they conformed to the head. The hat was typically designed to be worn low on the forehead,
with the wearer's eyes only slightly below the brim. By 1928-1929, it became fashionable to turn the brims on cloche hats
upwards. This style remained prevalent throughout the early 1930's until the cloche hat became obsolete around 1933-1934.
Often, different styles of ribbons affixed to the hats indicated different messages about the wearer. Several popular messages
included An arrow-like ribbon which indicated a girl was single but had already given her heart to someone, a firm knot which
signaled marriage or a flamboyant bow which indicated the wearer was single and interested in mingling.
Cloche hats'
popularity and influence were overwhelming. Couture houses like Lanvin and Molyneux opened ateliers to join milliners in manufacturing
the hats. The hats even shaped hairstyles the Eton crop (the short, slicked-down cut worn by Josephine Baker) became popular
because it was ideal to showcase the hats' shape.
 Cosmetics in the 1920s were characterized by bee-stung lips, kohl-rimmed eyes, and bright cheeks.
The heavily made-up look of the 1920s was a reaction to the demure,
feminine Gibson girl of the pre-war period. In the 1920s, an international beauty culture was forged, and society increasingly
focused on novelty and change.Fashion trends influenced theater, films, literature, and art.
Women also found a new need to wear more make-up. A skewed postwar sex ratio created
a new emphasis on sexual beauty. Additionally, as women began to enter the professional world, publications such as the
French Beauty Industry encouraged women to wear makeup so as to look their best while competing with men for employment.
Lipstick became widely popular after Maurice Levy's
1915 invention of the metal lipstick container. It was available in salve, liquid, and stick forms,and long-lasting, indelible
stains were the most popular."Natural" lipgloss was also invented, which used bromo acid to create a red effect
as it reacted with the wearer's skin.Finally, flavoured lipstick was also popular, with the most popular variety being
cherry.
Back in the 1920's the word "Flapper"
was coined to describe to women who danced the latest craze; the Charleston. The term was derived from the movements associated
with the dance steps that required that the woman would flap their arms and walk like birds - hence Flappers as in flapping
wings of the birds. Although the dance was popularized during the 1920's, the earliest Charleston is believed to have
been part of several Harlem (USA) stage shows being recorded as early as 1913. The coming of the Ragtime jazz era of the 1920's
which saw a boom in the popularity of the swinging jazz rhythms which underlie the Charleston cemented the dance into the
then popular culture. This freedom of expression and the freedom of style that went hand in hand with the spread of the dance
craze is typical of the social response to the return of the good times following the ending of the First World War. The jazz
time era itself was part of this manifestation and the Charleston was a very visible part of this collective feeling of returning
well being. Not everyone appreciated this open flaunting of youth and vitality and many saw the Charleston and the Flappers
in particular as being evidence of the downfall of moral standards and moral fortitude and directly responsible for many of
the moral issues of the day. Certainly the Flappers tended to wear shorter skirts and took to a style of having their hair
bobbed but it is true that they also tended towards heavier and more openly visible drinking and smoking habits.
Rural women were eager patrons of the
mail-order houses. Montgomery Ward started its catalogue in the 1870s and Sears, Roebuck debuted in 1893, but catalogue
shopping boomed after the implementation of Rural Free Delivery in 1896, when package delivery became financially sustainable.
Montgomery Ward, Sears, Roebuck and smaller companies sold fabric and other sewing supplies, including sewing machines,
through the mail. Of course, shoppers missed the tactile quality of shopping for fabrics, but the catalogues accommodated
customers by offering samples. For a penny, Sears, Roebuck shoppers could order as many swatches as they wanted –
an especially helpful service given that the catalogue images were black and white. The major catalogue also carried ready-made
clothing, the selection of which increased over the decades in proportion to its prevalence in stores. For women in isolated
rural areas, these catalogues were one of the few ways they could obtain ready-made dresses or sewing materials.
High fashion
until the twenties had been for high society. Due to the comparatively simple construction of a flapper's dress, women
were much more successful at home producing this style. Using a Butterick dress pattern enabled quick production of this style
garment. The flapper style flourished amid the middle classes and diminished the differences between themselves and the truly
wealthy. The upper class, however, continued to wear beautifully embellished silk garments for evening, but the masses revealed
in their newfound sophistication of very fashionable flapper styles.
 During WWI, the flat look came into vogue. Though a long corset produced the boyish figure, flappers refused
to wear tight corsets, and from 1920 and 1928 corset sales declined by two thirds.
The bra was the next undergarment
advance. Early in the 20s women had homemade bras - simply bust bodices, and many bras in stores were camisole-like, which
offered no support.
Endowed women bound their breasts or tried dieting to loose the extra inches. One popular garment,
the Symington Side Lacer, was a bust bodice. It laced on both sides and could be tightened to achieve the desired shape.
For young women with youthful figures the typical bra was a four-sectioned lace bandeau bra. Unlike today, shape and support
were not the issue; the bras primary goal was halting bust movement.
Clothing changed
with womens changing roles in modern society, particularly with the idea of freedom for women. Although society matrons of
a certain age continued to wear conservative dresses, forward-looking and younger women now made sportswear into the greatest
change in post-war fashion. The tubular dresses of the Teens had evolved into a similar silhouette that now sported shorter
skirts with pleats, gathers, or slits to allow motion to rule womens fashion for the first time in history. 
Shoes had high,
slightly curved heels. Shorter skirts put an emphasis on stockings, and gaiters were worn with streetwear in winter. "Tango
shoes" inspired by the dance craze had criss-crossing straps at the ankles that peeked out from draped and wrapped evening
skirts.
During the war years, working women wore sensible laced shoes with round toes and lower wedge heels.
A main goal of
flappers was to show off their bodies. Up until this point, it was pretty important for women to wear clothing that covered
their legs, necks and arms. With the roaring 20s came a roar of the nude appearance. Skirts that were cut above or just below
the knees, which were not worn before, became the popular length. Shirts became much lower cut and sleeveless, showing off
the neck and arms. The most common colour that was worn during the 20s was nude, which added to the overall nude appearance.
Two of the most
influential fashion designers of the time were Jacques Doucet and Mariano Fortuny. The French designer Jacques Doucet excelled
in superimposing pastel colors and his elaborate gossamery dresses suggested the Impressionist shimmers of reflected light.
His distinguished customers never lost a taste for his fluid lines and flimsy, diaphanous materials. While obeying imperatives
that left little to the imagination of the couturier, Doucet was nonetheless a designer of immense taste and discrimination,
a role many have tried since, but rarely with Doucet's level of success. 
Changes in dress
during World War I were dictated more by necessity than fashion. As more and more women were forced to work, they demanded
clothes that were better suited to their new activities. Social events had to be postponed in favor of more pressing engagements
and the need to mourn the increasing numbers of dead, visits to the wounded, and the general gravity of the time meant that
darker colors became the norm. A new monochrome look emerged that was unfamiliar to young women in comfortable circumstances.
By 1915 fashionable skirts had risen above the ankle and then later to mid-calf.
[Fair
Isle] patterns became very popular for both sexes. Heels, at the time, were often over two inches high and Coco Chanel helped
popularize the two-tone shoe, one of her trademarks. [Salvatore Ferragamo] and André Perugia were two of the most influential
and respected designers in footwear. Many stars of the [silent film]s had a significant impact on fashion during the 1920s,
perhaps most notably [Louise Brooks], Gloria Swanson, and [Colleen Moore]. The lighthearted, forward-looking fashions of the
1920s gradually came to halt after the [Wall Street Crash of 1929], and succumbed to a more conservative style.
The heavily made-up
look of the 1920s was a reaction to the demure, feminine Gibson girl of the pre-war period. In the 1920s, an international
beauty culture was forged, and society increasingly focused on novelty and change. Fashion trends influenced theater, films,
literature, and art.
Women also found a new need to wear more make-up. A skewed postwar sex ratio created a new emphasis
on sexual beauty. Additionally, as women began to enter the professional world, publications such as the French Beauty Industry
encouraged women to wear makeup so as to look their best while competing with men for employment.
Lipstick became
widely popular after Maurice Levy's 1915 invention of the metal lipstick container. It was available in salve, liquid,
and stick forms, and long-lasting, indelible stains were the most popular. "Natural" lipgloss was also invented,
which used bromo acid to create a red effect as it reacted with the wearer's skin. Finally, flavored lipstick was also
popular, with the most popular variety being cherry.
In the 1920s, different products were also developed that
showed the decade's preoccupation with shaping the mouth. Metal lip tracers, made in various sizes to satisfy the wishes
of the wearer, were developed to ensure flawless lipstick application. Helena Rubinstein created a product called "Cupid's
Bow," that billed itself as a "self-shaping lipstick that forms a perfect cupid's bow as you apply it."
The development of the mirrored lipstick container in the 1920s also points to the importance of shaping the lips through
the application of lipstick
In menswear there
was a growing mood of informality, among the Americans especially, which was mirrored in fashions that emphasized youthfulness
and relaxation. In the past, there was a special outfit for every event in the well-dressed gentleman's day, but young
men in the Twenties, no longer afraid to show their youthfulness, began to wear the same soft wool suit all day long. Short
suit jackets replaced the old long jackets of the past which were now only worn for formal occasions. Men had a variety of
sport clothes available to them, including sweaters and short pants, commonly known as knickers. For evening wear a short
tuxedo was more fashionable than the tail-coat, which was now seen as somewhat old-fashioned. The London cut, with its slim
lines, loose-fitting sleeves, and padded shoulders, perfected by the English tailor Scholte, was very popular.
The American graphic artist, Charles Dana Gibson (1867
- 1944), created one of the first pin-up Gibson Girlgirls with his series of illustrations of "The Gibson Girl".
This independent woman became the role model of the 1920's woman and was featured in many an art deco painting. Even before
the World War I, there was a movement afoot in which women were exerting more independence. These strongly independent women
were dubbed "flappers" as early as 1912 in a British coinage that came from the comparison of these women with fledgling
birds leaving the nest.
1920s Flapper Butterfly magazine cover with the onset of the First World War, women took
on roles that had previously been the preserve of men. The euphoria and sense of freedom that came with the end of the war
in 1918 provided fertile soil for the new-found independent spirit of women to flourish and resist any demands to return to
the kitchen.
 Before the war, women had worn elaborate, full length
dresses with layers of restrictive undergarments or more formal dress as dress code. In the 1920s, body crippling corsets
were abandoned, hemlines rose and rose, and the boyish figure became all the rage. Dress Costume or Frocks as they were called,
were low waisted and by 1926 knee length. They were often embroidered or decorated with beads and tassels. To complement the
newly revealed legs, sexy stockings became a daring flesh colour instead of the traditional black. Favourite accessories were
dangling earrings and long necklaces. Fashionable colours mentioned in an advertisement for frocks, flapper costumes and suits
included "Roseda, Orchid, Bracken, Amethyst and Navy". The modern young woman, or "sexy flapper" as she
was sometimes called with her flapper dress costume or fancy dress was often bold enough to wear powder, rouge and pale blue
eye shadow in the evening and may even have plucked her eyebrows. Some women were beginning to smoke, not only at home but
in public, and this shocked many people.
Flappers did away with corsets and pantaloons in favour
of "step-in" panties. Without the old restrictive corsets, flappers wore simple bust bodices to make their chest
hold still when dancing. They also wore new, softer and suppler corsets that reached to their hips, smoothing the whole frame
giving women a straight up and down appearance, as opposed to the old corsets which slenderized the waist and accented the
hips and bust. Without the added curves of a corset they promoted their boyish look. Adding an even more boyish look, the
Symington Side Lacer was invented and became a popular essential as an every-day bra for, not only flappers, but women. This
type of bra was made to pull in the back to flatten out the chest. Women envied flappers for their flat chests and bought
the Symington Side Lacer to enhance the same look. Hence, flat chests became sexy and appealing for women, although flappers
were the most common to wear such bras.
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